NOV 7, 2013 - JAN 12, 2014
ONE TORINO @ Fondazione Sandretto Re Rebaudengo
Curated by Chris Fitzpatrick
Federico Acal, Nina Beier, Goda Budvytyte, Liudvikas Buklys, Frank Chu, Trisha Donnelly, Peter Fischli & David Weiss, Ceal Floyer, Isa Genzken, Halflifers, Euan Macdonald, Mahony, Eva Marisaldi, Giovanni Oberti, Julie Peeters, Post Brothers, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Erik Wysocan
VEERLE is a project and a site of projection sited in and out of the project-room of Fondazione Sandretto Re Rebaudengo. The sum total of the works it comprises, VEERLE will be kept in constant calculation through a series of overlapping and simultaneous propositions—slow-drip videos, oral reports, gossip, newspapers, web subjects, postal projects, guided visits of the exhibition, daylong screenings, performances in the surrounding residential areas, and so on. “Veerle” is, quite simply, a given name chosen to unite multiple ranges of artistic activity under the semblance of a single distinguishable corporality. In some cases, the participating artists were expressly invited to contribute work for the occasion. In others, their work was selected from the Fondazione’s vast collection. VEERLE consumes the fixed coordinates of exhibition, place, timeframe, primary/secondary statuses, and format, as the organizers recycle the same objects and operations of the same artists—even as the objects are never physically moved.
reviewed in Frieze Magazine
, Issue 154, April 2013.
The title of Erik Wysocan’s recent solo show at Laurel Gitlen’s new Lower East Side space, ‘Paris Spleen’, comes from a Charles Baudelaire story in which the gift of a counterfeit coin provokes an epistemological crisis. It was a fitting allegory for an exhibition interested in the aesthetic and material…
Read Full Review
MAR 31- APR 28, 2013
“The Made-up Shrimp Hardly Enlightens Some Double Kisses”
, New York
Edgardo Aragón, Christopher Aque, Ernst Benkert, Lynda Benglis, Edmund Carpenter,
Antoine Catala, William Eggleston, Corin Hewitt, Jessica Jackson Hutchins, Bill
Jenkins, Josh Kline, Paul Kos, Marie Lund, Anissa Mack, Elizabeth McAlpine, Park
McArthur, Ryan McLaughlin, Joseph Montgomery, Will Rogan, Brian Sharp, Mateo
Tannatt, Alina Tenser, Allyson Vieira, Jesse Willenbring, Erik Wysocan
Like an octopus, a centipede, or an exquisite corpse, this exhibition has too many
hands, too many feet, and reaches in several directions. With new works by gallery
artists and selected works from invited friends and colleagues, this hydra-like
exhibition speaks to influence, friendship, inspiration, and curiosity.
This exhibition includes at least one rebus, seven paintings, two sculptures that
fit in boxes, and an ethnographic film. It includes two pieces of toast, a wall on
casters, a chair with no legs, and a wall label. There will be Axe Body Wash, a
glass candlestick, and an Abercrombie and Fitch shopping bag. There are also 22
Polaroids, an arrangement of vegetables, a latex-shiny black quilt, one projection,
and a portrait or two. There is a balancing broom, a mobile, a photograph of a
mountain in Oaxaca, and C-prints made from invisible moments of 35mm films.
Most importantly, this is the inaugural group exhibition of our new space at 122
Norfolk Street. Strangely, it is also our third exhibition in this location;
another non sequitur.
MAR 29 - APR 30, 2013
“From where I come … maybe … I don’t know”
, Naples, Italy
STEVEN BALDI - DANILO CORREALE - CHARLES MAYTON - PETER LIVERSIDGE - DAVID JABLONOWSKI - ANTHONY PEARSON - VALERIE SNOBECK - CATHY WILKES - ERIK WYSOCAN
An image can often be obscure or impenetrable to the natural investigation deriving from a curiosity which is activatesd exactly because an immediate interpretation is resisted.
This is also valid for the objects constituting the image, which formally could embrace all types of mediums: painting, sculpture, photography or installation. The resistance to penetration has its own reason and is often implicitly linked to the analysis and research process which are an integral part of the work and to the quantity of data it contains.
The ability of synthesis of information is a distinguishing point and derives from aptitudes that each artist applies in the formalization of the final image. In the same way it also becomes a result of personal experiences and thoughts linked to real life. The final expression of this process is most sensed with a high degree of sincerity and intellectual honesty, which determine the form and the artist's degree of sensibility.
It is equally true though, that art cannot do without fascination, which is an integral part of it, and at times is sensed only if the content of the object of investigation does not appear immediately.
Sometimes the formal definition can be abstract and the nature of the investigation very distant from its origin, or the result of continuous investigative elaborations.
All this determines that the interest heads naturally to the constitutive process producing the final form of the work and that the choice of materials and language is appropriate to address the information representing it.
For which reason why a form or a material is preferred over another, or why curiosity pushes us to observe some things and to ignore others does not have a single answer.
But what is sure is that curiosity is linked to an evolution of our mind and to a constant educational path of our aesthetic and ethic sense, to a continuous interpretation of models expressed by other artists and compared to each other also in virtue of a historical interpretation. It is also true that new paths are undertaken and sometimes irresolution and non-perception of the end of the road are the gist of it that determines the final result. What appears evident is the object and many times it can be alien to the original emotional and rational push which generated it, but however available to connections open to other objects and to multiple interpreting readings in the eyes of the observer.
FEB - MAR, 2013
Hulpmiddelen Voor Een Beter Zicht
An interview with Tauba Auerbach for Metropolis M Magazine Feb / Mar Issue
EW: Your recent show Tetrachomat in Bergen featured a large sequence of paintings from the Fold series – canvases that have been folded and wrinkled to produce a three-dimensional topography and then spray-gun painted before being drawn back out onto stretcher frames. The color gamut at once evokes both the aesthetic affect of digital imaging as well as the sun-faded ghost of analog photography, resulting is an extraordinarily seductive set of images resistant to the traditional discourses within painting. In reviewing past writing on the series I noted that the term Trompe l'oeil comes up quite often - though there is disagreement as to whether you are employing the illusionary technique or are in fact producing its antithesis: a topological trace of the material process of painting. Having such fundamentally different implications, it's unusual that a painting could swing so widely in its interpretation, but this strikes me as the essential point that the work raises: the phenomenological problem of the incongruity between thing and perception. Here the canvas comes to stand in for the retinal field on which the object necessarily becomes a sort of trompe l'oeil in the process of being perceived by the mind. In this space the image and its referent object reach a sort of equivalence.
TA: I've had mixed feelings about the term trompe-loeil being used to describe the Folds, and I've really come to embrace that. Although they fit the description in some ways, it's a bit too simple to stop there, because the term doesn't account for the fact that each painting is a representation of one or more states of a particular surface on that same surface. There is a direct 1:1 indexing that has taken place, like a tally of the depth of each spot recorded on the same spot.
It also sort of gives me too much — or at least the wrong kind of — credit. The believability of the rendering is not a result of my painterly skill, in the traditional sense. Sure, I make subjective, artistic decisions about folding patterns, color, contrast and texture, but the lines and shadows are to a large extent not contrived by me. When I fold the canvas, I can't even see—let alone control — what is happening inside the little bundle I'm making. The material wrinkles and bends internally in ways that I am not privy to until I unfold it and lay it on the ground before spraying.
The resulting image is a natural result of a system i've devised, rather than my ability to generate a convincing rendering of a cease that i've either imagined or observed. In a way, I'm "cheating" the same way taking a photograph was once considered cheating: by recording something rather than fabricating it. It's also like the photographic process in that the pigment acts like raking light, and the image is the result of a certain length of exposure to that "light".
It's because of this that, as you rightly point out, the canvas can be a stand-in for a photosensitive surface like the retina, and there is a kind of collapse that occurs when the thing one is seeing and the surface on which the first part of seeing occurs bear a process-like resemblance. I think you articulated this better than I did just now. Your question also makes me think about memory as a kind of trompe-l'oiel. A trick of the eye wherein you "see" a reconstruction of an image.
Read full interview...
FEB 6 - FEB 28, 2013
White Petals Surround Your Yellow Heart
Artists: Hilton Als; Lynda Benglis; Bernadette Corporation; Genesis Breyer P-Orridge; Dexter Sinister with Halmos; Leif Elggren; Anne-Mie Van Kerckhoven; Karen Kilimnik; Irena Knezevic; Inez van Lamsweerde & Vinoodh Matadin; Erin Leland; Zoe Leonard; Wardell Milan; Paulina Olowska; Seth Price; Rammellzee; Nick Relph; Carissa Rodriguez; Aura Rosenberg, John Miller & Frank Lutz; Nader Sadek; Frances Stark; Catherine Sullivan; Scott Treleaven; and Amy Yao.
White Petals Surround Your Yellow Heart presents the work of artists engaged with clothing, adornment, and self-presentation to highlight the inventive design, tactical implementation, or sartorial sense by which we multiply and complete our personalities. On view in ICA's First Floor Space February 6 through July, 28, 2013, this group exhibition takes inspiration from this definition by novelist JG Ballard—"Fashion: A recognition that nature has endowed us with one skin too few, and that a fully sentient being should wear its nervous system externally."
Artworks in a variety of media infuse garments with a distinctive sense of pose—the exclusive province of neither the advertisement nor the runway—to stand, statue-like, with an attitude perfumed by immense mediation and an unsteady social sphere. With examples from outlandish costumes to self-published magazines, jewelry to sculpture, performance to painting, this sensibility permeates all fields. Oscillating between branding, self-recognition, sexuality, political uniform, and economic indicator, our adornment always reflects a chosen position in and with society. Told time and time again that ours is a narcissistic age, how do we positively reveal or covertly enact desires before the mirror of our time?
This exhibition is organized by ICA Associate Curator Anthony Elms, and is accompanied by a fully illustrated catalogue.
JAN 13 - FEB 17, 2013
Laurel Gitlen, New York
“Might it not multiply into many pieces of good money? Might it not also lead to prison? A baker, a tavern keeper, for instance, might have him arrested as a counterfeiter or a disseminator of bad money. But on the other hand, the counterfeit coin for a poor little speculator, might well be a germ of several days' wealth. And so my fancy ran riot, lending wings to my friend's imagination and drawing all possible deductions from all possible hypotheses.”
—Baudelaire, Paris Spleen
Laurel Gitlen is pleased to announce Paris Spleen, a solo exhibition of new work by Erik Wysocan. This will be the first exhibition in our new space at 122 Norfolk Street.
What gives value to “value”? Through a series of sculptural objects, paintings and displays, Paris Spleen develops a commentary on the creation of value, and the role of optical, aesthetic, and subjective dynamics for such production. Rather than considering this question from the perspective of circulation, the exhibition takes as its starting point the figure of the counterfeiter: for example, a coin “minted” by Diogenes, notorious for debasing his silver alloy with non-precious metals, is represented here as a series of casts of an actual ancient drachma, which was long ago stamped with the Greek philosopher’s initials—counterfeits of the original counterfeit.
Such doubling is reinforced with the presentation of mirrors, arranged to reverse the normally reversed image of the viewer, alongside plywood substitutes of previous works, and sculptural displays which occupy space in lieu of the objects themselves. In this way, the assurance of value through optical security—that is, through epistemological certainty—is revealed as dependent upon a secondary support system.
But Wysocan’s work goes further than a deconstructive minimalism with his super-black paintings. By repurposing a material originally developed for the aerospace industry—this is possibly the darkest man-made material ever manufactured (99.99% black)—the paintings reference a tension at play in the history of abstraction, the contrasting “value” of color-field paintings; and yet the dead matte surfaces, almost tactile in their swallowing of light, subordinate this tension to a prior mode of valuation, that of the eye and of our sensory-motor system. Abstraction operates here not as a counterpoint to figuration but by reaching the optical baseline of perception as such.
This thematic continues in the back of the gallery. At first glance, the wall-mounted displays appear to be empty. Yet from behind each black glazing there emanates the palest of geometric glows: with an arrangement of three sets of currency (the US dollar, the euro, and drachma forgeries) under an infrared light—a common technique used to identify counterfeit currency—Wysocan merges discourses on aesthetic and financial abstraction. It is at the limits of perception, at that point where the image vanishes and there is only void, that the abstract, axiomatic functioning of capitalism operates with the most aggression.
But on that threshold, and after all this doubling and subtraction, what remains is the body: here, the casts of collectible figurines, beggars every last one of them, just like Diogenes himself, who slept on the streets in order to repudiate, not just with words but with his very corporeality, the values of ancient Greek society. The debasement of currency, the revaluation of bodies: Wysocan’s exhibition indicates how the truth of value production—not of the market system, but of our living materiality—can only be spoken from the position of the counterfeiter.
Erik Wysocan (b. 1977) lives and works in New York. His work has previously been exhibited at SculptureCenter, New York; Brown Gallery, London; and Andrea Rosen Gallery, New York, where in 2011 he had his first solo exhibition. Under his imprint Halmos he recently produced Dexter Sinister, Watch Wyoscan 0.5 Hz in collaboration with Dexter Sinister, currently on view at Objectif Exhibitions, Antwerp. This February, it will be included in White Petals Surround Your Yellow Heart at the ICA Philadelphia.
Please note the gallery’s new location at 122 Norfolk Street, one block east of Essex Street between Rivington and Delancey. The gallery is open Wednesday–Sunday, 11am–6pm. For more information, please contact email@example.com or 212.274.0761.
122 Norfolk Street
New York, NY 10002
An interview with Workingroup
Our most recent project is an interview with Erik Wysocan. His new photographic work, which is based on an imaging technique first invented by the French revolutionary Jean-Paul Marat, provides a fascinating study of the way in which scientific, historical, and economic discourses produce—and ultimately rely upon—an aesthetic dimension.
OCT 24 - NOV 4, 2012
Book Week II: In Translation
Miguel Abreu Gallery
Wednesday, October. 24th - Sunday, November 4th
Miguel Abreu Gallery and Sequence Press are pleased to present Book Week II: In Translation, with Collages by Raha Raissnia. The gallery floor will be arranged as a bookshop and reading room with recent titles from mostly local publishers. In addition, selections will be on hand from the Lower East Side Heritage Collection, a unique archive of specialized, non-circulating books at the Seward Park branch of the New York Public Library.
On a recent trip to the Seward branch, Johanna Lewis and Sean Ferguson, the librarians responsible for breathing life back into the once-hidden LES Heritage Collection, pointed out Trictionary to us. This English/Chinese/Spanish dictionary, published in 1982, is a reference of words and phrases “as spoken on the Lower East Side.” In the introductory pages of the book, which include a guide for use and a list of important people in China and the Caribbean, we learned the project “arose out of the need in the Chinatown Lower East Side area of Manhattan, New York City for simple, multi-lingual reference work to help people communicate with each other.” We also found a collection of translated letters to the Jewish Daily Forward, A Yiddish Word Book for English-Speaking People, and an anthology of Nuyorican Poetry in Spanish and English.
After a short walk from the library, we engaged our neighbors across the street at Bidoun and learned they are presently translating a back issue of the magazine into Arabic. Across town, Seven Stories pulled Hwang Sok-yong's The Old Garden off their shelves and New York Review Books suggested poet Richard Howard’s translation of Balzac’s The Unknown Masterpiece from their classics catalogue. Archipelago sent copies of Henri Michaux’s Stroke by Stroke and Dalkey Archive Press dropped off Collected Novellas by Arno Schmidt. We then swiftly gathered a wide range of titles from the following group of publishers that incorporate the precise art of translation into their programming:
Dalkey Archive Press
New York Review Books
Open Letter Books
Seven Stories Press
New York Public Library's Lower East Side Heritage Collection
D.A.F. de Sade with contributions by Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
Translation by Robin Mackay
Edited by Erik Wysocan
Weep no more, citizens; they breathe, these celebrated men for whom we cry; our patriotism reanimates them...
Presented in honor of Marat and Le Pelletier, "Citizen Sade" wrote this memorial address at the height of violence during the French Revolution, just after the start of the Reign of Terror. The text, effusive and cloyingly patriotic, brings to question Sade's own political position – a provocative impulse all the more remarkable given the addresses audience: the gathered Section des Piques, amongst the most hardline Jacobin districts of Paris. Though frequently cited and made infamous as the inspiration for Peter Weiss' influential work of avant-garde theater Marat/Sade, the text itself has remained obscure outside of France.
Presented in English for the first time, this new translation by Robin Mackay serves as the historical foundation for a collection of artist's writings. Included are Paul Chan, Claire Fontaine, Gareth James, Sam Lewitt, Pratchaya Phinthong, Pamela Rosenkranz, John Russell, and Antek Walczak.
SEPT 22, 2012 - MAR 23, 2013
Dexter Sinister, Watch Wyoscan 0.5 Hz
Time is like that – both point AND duration. This is how it can bend and warp. A week, a second, a season: all are specific and discrete, but none are the same. The present can be cut to any number of lengths, from a single vibration of a cesium atom to the display cycle of a digital watch.
Dexter Sinister, Watch Wyoscan 0.5 Hz is a reverse-engineered Casio digital watch. A tiny computer replaces the existing electronics and has been reprogrammed to slowly render the current time from left to right across its liquid crystal display, completing 1 cycle every 2 seconds. It is produced by Halmos, New York with additional support from Objectif Exhibitions, Antwerp and Yale Union, Portland.
JUN - JUL, 2012
MAN AS COLOUR SPECTRUM
Speculative Theory with Pamela Rosenkranz
An interview with Pamela Rosenkranz for Metropolis M Magazine June / July Issue
De mens een kleurenwaaier
Gesprek met Pamela Rosenkranz
MAY 19 - JUN 30, 2012
Andrea Rosen Gallery
, Gallery 2
Carol Bove on Exhibiting
An Interview with Carol Bove for Metropolis M Magazine
December / January Issue.
Carol Bove Over Tentoonstellen
Interview met de 'moeder' van de hedendaagse sculptuur Carol Bove over het installeren van kunst.
Steven Baldi, John Bianchi, Jane Benson, Ethan Breckenridge
Kadar Brock, Sarah Dornner, Stacy Fisher, Kate Gilmore
Ethan Greenbaum, Adam Marnie, Robert Melee, Saul Melman
Jo Nigoghossian, Brian O'Connell, Virginia Poundstone
Meredyth Sparks, Naama Tsabar, Marianne Vitale, Claudia Weber,
Thierry Goldberg, New York
The Place Became A Placeholder
A new text originally printed in the LUMA Award 2011
book published by Mousse Magazine and Maja Hoffman /
LUMA Foundation. 2011.
MAR 17 - APR 23, 2011
A Thousand & One Nights
Andrea Rosen Gallery
, Gallery 2
Andrea Rosen Gallery is proud to present Erik Wysocan's first solo exhibition in New York, A Thousand & One Nights in Gallery 2. It begins with a document entitled Titled 2011 that was prepared during the lead-up to the show and chronicles the lengthy process of locating Gunilla Weiss, the widow and collaborator to the late playwright Peter Weiss, and the correspondence that followed. Having referenced Peter Weiss' seminal work Marat/Sade as the structural model for this body of work, Wysocan asks Gunilla to recount the process of staging the play in 1963. Through this dialogue, Titled 2011 considers the uncertainty produced by the repeated resuscitation of history in Weiss's play—a mise en abyme first staged in 1963, set in 1808 and encapsulating an interior play taking place in 1793—and its radically politicized mediation of chronology.
From this textual platform, Wysocan has extrapolated a collection of objects that are presented within an arrangement of displays and support structures. Wysocan is interested in the material construction of history and the mechanisms which serve to define a historical narrative. The entrance is marked by a portal that is evocative of security devices often found at the transition between public space and prescribed space. Similarly, the sculpture generates a threshold between the gallery and the exhibition. Once inside, the exhibition framework stages artifacts and other objects assembled over the last year as part of an ongoing inquiry into the formal representation of the past.
Of one particular line of investigation, Wysocan writes that the display "is an object that images an object that images an object". In two works bearing the same title as the exhibition, 18th century blown-glass is captured at the moment of fracture, suspended within a crystalline medium. Two free standing display case works employ optical films to simultaneously efface the details of the objects beneath and generate iconic silhouettes—a process that can be seen as the delamination of the specificity of the object to reveal what embedded information might be maintained.
In the ongoing series (By Whom Will These Keepers Be Kept?), wall-mounted light boxes illuminate vivid topographies, encased in what seem to be smashed and then reconstructed vitrines. A sidelong view reveals a nearly empty space containing only crumpled cellophane. The resulting compositions are a product of the layering of surfaces without any substantive material support. They become representations of a fugitive reality not written in stone, but forever shifting, shimmering and transforming. The light boxes are accompanied by a series of wooden works that emulate the form of other pieces—described in the text Titled 2011 as performing the role of Weiss's stage properties.
A 1990's era German X-ray bag scanner near the entrance reveals a third line of inquiry. A device for monitoring the exchange of goods and people into a space, the X-ray scanner is an object that images an object that images an object. Nearby a TV displays the video feed captured from the X-ray machine, indexing many of the items that passed through Wysocan's studio over the last year; included are the artifacts displayed in, and comprising the other works in the exhibition, as well as everyday goods such as food and clothing. A second video piece makes use of the shadowgraph, an 18th century optical technique discovered by the pre-Revolution Jean Paul Marat to render the heat emanating from the breath of a unheard speaker.
As time passed, Wysocan repeatedly sought guidance from Gunilla Weiss in the development of these pieces, but with no apparent resolution. In the end, Titled 2011 chronicles the intermittent and then fading correspondence that developed between Gunilla and Erik over the course of several months. It concludes with a quote from Gunilla's final message before she cut off contact: "I just found out that I cannot find you…"
Erik Wysocan received an MFA from Columbia University in 2009. His work has been included in exhibitions at Sculpture Center, Long Island City, NY, and Socrates Sculpture Park, Long Island City, NY. Wysocan has also been included in group exhibitions at Andrea Rosen Gallery, Laurel Gitlen, New York, Museum 52, New York, and Brown Gallery, London.
For press information please contact Jessica Eckert, firstname.lastname@example.org or Renee Reyes, email@example.com
SEPT 4, 2010
HALMOS / ∎
New Publishing Project & Book Release
New York Please come to Dexter Sinister, 38 Ludlow Street (between Hester and Grand) this coming Saturday night, September 4 at 7pm to mark the re-opening of our bookstore under regular Fall hours (Saturdays 12 to 6pm) and to launch two publications and an exhibition.
Larissa Harris, curator of THE CURSE OF BIGNESS at Queens Museum of Art, will lead a gallery tour through a scale model of THE PLASTIC ARTS, a show based on A Note on the Type from the previously mentioned exhibition book and organized by Anthony Elms at University of Illinois Chicago opening two days later which includes a grey painting made sometime previous by Philomene Pirecki that frames the cover of the 20th and final issue of DOT DOT DOT, in which DDD tries -- finally -- to be as direct as possible about what it's come to stand for and what it thinks it's gonna do about it.
In parallel we will present Samuel Madden's MEMOIRS OF THE 20TH CENTURY, re-released by Halmos (Erik Wysocan, New York) with an outroduction by Liam Gillick orginally published in 1999 titled Prevision. Should the Future Help the Past? Whiskey and water will be served.
The currents, once in, must find their way out. . . . .
Also: http://shop.dextersinister.org/index.html?id=242&more=1 http://www.dextersinister.org/index.html?id=244
JUL 9 - AUG 13, 2010
Michele Abeles, Uri Aran, Jamie Isenstein, Halsey Rodman, Erik Wysocan
New York FOR IMMEDIATE RELEASE
July 9 - August 13, 2010
Opening reception July 9, 6 - 8pm
This exhibition brings together the work of five artists whose work interrogates
the problem of what is visible and what is invisible; the mechanical and
psychological processes of imaging; and the leap of faith that facilitates
pictorial thinking. Despite divergent concerns and formal difference, all of the
artists express a common humanism in their work, marked by a consideration for
corporeal, mortal and emotional experience.
Michele Abeles recent photographs explore the possibility of dehumanizing the
human body, incorporating the male nude into still lifes in a spare studio space.
With only a few iconic, recurring objects, the bodies nonprofessional white male
models, typically found through craigslist act as a hegemonic (neutral) figure,
oscillating between subject and object, both intimate and anonymous.
Decontextualized and fragmented, the bodies are removed from experience, and become
synonymous with numerals, rocks, and scraps of paper. The use of repetition in the
work (in this case two photographs that appear nearly identical) further confuses
attempts to locate meaning. Abeles received her MFA from Yale University in 2007.
Recent exhibitions include Greater NY at MoMA PS1 and a 3-person exhibition at
White Columns in 2010.
Uri Arans recent drawings pit confident and loosely drawn innuendo against banal
icons of material culture, heightening both the stereotypical and evocative tropes
of both types of visual information. An uncomfortable humor and pathos permeate
his practice, and his recent sculptures and videos use swelling music and
psychologically charged objects to emotive effect. Recent exhibitions include
Knights Move at The Sculpture Center, and Greater NY at MoMA PS1 (with Tommy
Hartung). Aran received his MFA from Columbia University in 2007 and had a solo
exhibition at Rivington Arms in 2008.
Jamie Isensteins sculptures and performances explore the idea of the body as a
readymade, with the artists absence or presence often playing a central role in
the work (in part by testing the adage that art is immortal). In Magic Jacket/ Tail
Coat Topit, a seemingly empty magicians coat hangs on a wooden rack, waiting to be
performed. Its secret pockets are actually filled with sleeping tricks: it is
literally impregnated with potential magic. But a topit the magicians pouch for
disposing of tricks is also a cloaking device, and like many of Isensteins
works, the sculpture essentially becomes a hiding place and a sculptural armature
for a gag. Isenstein has exhibited internationally, with recent museum exhibitions
including Marina Abramovic Presents, Manchester International Festival, and a solo
project at the Armand Hammer Museum in 2007.
Halsey Rodmans sculpture, Its Not Getting Bigger Youre Getting Closer, is
created with nebulous foil forms over a cloud-like armature. His work often centers
on the concrete experience of the body and the construction of the self through
phenomenological experience. Accompanied by drawings of the shadows cast by the
sculpture, the work engages formal abstraction, scale shifts and reflections to
suggest multiple image possibilities and subject positions. Rodman had two solo
exhibitions at Guild and Greyshkul and will be included in two forthcoming
exhibitions in Europe, Portugal Arte 10, Lisbon and Abstract America 2, Saatchi
Erik Wysocan makes work that investigates the mechanisms of display and the
conditions of visibility. The works in this exhibition are from a new series,
Peter Weiss The Persecution and Assassination of Jean-Paul Marat as Performed by
the inmates of Charenton, Under the Direction of the Marquis de Sade, Properties
and include a video projection and objects that investigate Marats historical
representation as a scientist and inventor of the shadowgraph, followed by his role
as French revolutionary and then later, reconfigured as the subject of art and
theater. Wysocan received an MFA from Columbia University in 2009 and was included
in The Perpetual Dialogue at Andrea Rosen in 2010 and In Practice at the Sculpture
Center in 2009.
PLEASE NOTE: SUMMER HOURS ARE TUESDAY-FRIDAY FROM 11-6 AND BY APPOINTMENT.
APR 7 - MAY 8, 2010
Paul McMahon, Mads Lynnerup, Erik Wysocan, Stephen Vitiello, Frank Selby,
New York Museum 52 is pleased to present a group exhibition of works dealing with particularly familiar, if not iconic, material, content and subjects. The work featured in the show includes sculpture, sound installation, video, drawing and collage.
DEC 12, 2009 - JAN 23, 2010
The Perpetual Dialogue
David Adamo, David Bradshaw, Wolfgang Breuer, Andr Cadere, Spartacus Chetwynd, Sen Chung, Kier Cooke Sandvik, Simon Denny, Michele di Menna, Thea Djordjadze, Eirene Efstathiou, Llyn Foulkes, Robert Heinecken, Marek Konieczny, Elad Lassry, Michael Lazarus, Uwe Lausen, Daniel Lefcourt, Monica Majoli, Aubrey Mayer,
Adam Marnie, Daniel McDonald, Kazuo Shiraga, Christiana Soulou, Jeni Spota, Michael St. John, Charwei Tsai, Marianne Vitale,
Herbert Volkmann, Danh Vo, Erik Wysocan
Andrea Rosen Gallery
New York FOR IMMEDIATE RELEASE
Andrea Rosen Gallery is pleased to present "The Perpetual Dialogue" an exhibition featuring work by 31 artists selected by 14 curatorial contributors including Sadie Coles, Clarissa Dalrymple, James Fuentes, Alison Gingeras, Nicole Hackert, Matthew Higgs, Dakis Joannou, Ivan Moskowitz, Cory Nomura, Andrea Rosen, Josh Smith, Wolfgang Tillmans, Dean Valentine and Robert Vifian.
In putting together a large, non-thematic group exhibition it emerged that the most authentic method would be to structure a show around my ongoing day to day process of talking about what people are looking at with collectors, artists, curators, writers, and gallery staff. This exhibition is meant to be an extension of that dialogue. The show is an image of what the art world can be at its best: a place that is about a constant flow and exchange of ideas, an engine for excellence, a place of collaboration and constructive competition, of extremes and diversity and endless discovery. By asking others to be involved in the curatorial process, it ensured that this exhibition would not merely represent my point of view, but rather, would have the potential to be exciting and unexpected in its expansiveness.
With only the vague criteria to choose artists who are under known, it is inspiring to see the diversity of artists and type of work selected by contributors and myself. Ranging from artists who are at the very early stages of their careers to those who are deeply influential and somehow still new to many, to artists who the contributors felt were simply not well known enough. It is interesting that not one person selected the same artist as anyone else. While the contributors were not necessarily in direct conversation regarding their selections, each was aware of the list of contributors beforehand and the process of positioning themselves against the expectations of the types of work others would select created another important, silent dialogue/competition that runs though the exhibition. Choosing two artists, rather than one or ten, was significant as it both demanded focus and thoughtfulness about who should be selected and simultaneously allowed for each contributor to express his or her own subjectivity. Ultimately, this exhibition is not about which contributor selected which artist, but rather, the expression of a show that would mimic the discursive energy of the art world through the minds of these very thoughtful participants.
It is important to note that this emphasis on dialogue appears as a thread that runs throughout the gallery's program. Over its 20 year history, there have been nine exhibitions curated by collectors. In addition, we have regularly invited various experts in their particular fields to organize exhibitions including Adam Boxer (Hans Bellmer Works on Paper), Vincent Di Fate (A Science Fiction Show), Erika Hoffmann (1950s and 1960s Kinetic Abstraction), Joshua Mack (Tetsumi Kudo), Olivier Renaud-Clement (Contructivismes (A Visual Essay) and Weird: A Subjective Selection), and Luise Ross Gallery. A new, parallel vein of this process has been our recent exhibitions organized or inspired by dialogues with the gallery's artists. Specifically, David Altmjed's curated show of work by Daniel Hesidence and several shows that emerged from conversations with Rita Ackermann. In the near future, we are looking forward to curated exhibitions by Josiah McElheny and Nigel Cooke. While not wishing to exclude artists from being contributors to this current exhibition, we do look forward to the rich dialogue that we will continue throughout our larger program.
The remarkable variety of work chosen is a manifestation of the value that both I and all of the people I asked to contribute place on the process of looking deeply and openly at a wide array of work in all media, from numerous countries, and across all age groups. Of the artists selected for this exhibition, there were many whose names I had not known and I am grateful for the generosity of all the contributors. This exhibition serves both as an opportunity to honor the dialogue of which I am already so fortunate to have and a catalyst for new ones, both for me and for the public.
For additional press information and images please contact Renee Reyes at firstname.lastname@example.org
SEPT 13, 2009 - NOV 30, 2010
In Practice Fall '09
Jason Kraus, Meredith Nickie, Marlo Pascual, Xaviera Simmons, Marianne Vitale, Erik Wysocan
SculptureCenter is pleased to present new works by Jason Kraus, Meredith Nickie, Marlo Pascual, Xaviera Simmons, Marianne Vitale, and Erik Wysocan. The works on view are commissioned through SculptureCenter's In Practice project series, which supports the creation and presentation of innovative work by emerging artists and reflects diverse approaches to contemporary sculpture. The exhibition will be on view September 13-November 30, 2009, with an opening reception on Sunday, September 13, 5-7pm.
SEPT 3 - OCT 3, 2009
José León Cerrillo, Tyler Coburn, Peter Coffin, E.V. Day, Harrell Fletcher, Adam Helms, David Horvitz, Matt Keegan, Tim Kinsella, Sara Greenberger Rafferty, Rachel Owens, Kate Shepherd, Matt Sheridan Smith, Allyson Vieira, Erik Wysocan, and Caleb Waldorf
Evading Customs, an exhibition of economy and strategy, brings together a selection of works fabricated via instructions from sixteen artists who live and work outside the United Kingdom. Fifty artists were asked to contribute projects, a selection of which were then realized; the only limitation given was that each work be constructed by the curators, gallery staff, or other artists, on-site and at minimal expense. This premise is both commonplace—as artists often rely on others to install or produce works in their absence—and practical, since it effectively eliminates the shipping component of this exhibition. It allowed us to present ambitious works by artists we might not be able to afford to show in the UK otherwise; it also meant these same artists had the opportunity to make works specific to London, to address concepts of exchange, or to explore ideas that diverged greatly from their usual body of work.
The exhibition takes root in a number of important art-historical moments, including: George Brecht's Event Scores, which asked viewers to perform quotidian activities (1958); Sol LeWittʼs Sentences on Conceptual Art (1969); Lucy Lippard's instructive exhibitions, for which she gave directives to one artist, who in-turn instructed another, and so forth (1969–70); Hans-Ulrich Obrist's ongoing Do It exhibition and book series (1993–); the New York City non-profit Triple Candie's unauthorized retrospectives of David Hammons and Cady Noland (both in 2006); amongst many others—relative concepts, proffered here by necessity.
All proposals have been compiled for the creation of a PDF catalogue available on the Brown gallery website following the opening of the exhibition:
A group discussion of A. S. Neill's Summerhill, as part of Harrell Fletcher’s work In London, as in the rest of the world, it is time to re-read Summerhill, will take place at Brown on Thursday, October 1 from 7-8 PM. Please RSVP to email@example.com. –Peter J. Russo and Lumi Tan
SEPT, 2009 - MARCH, 2010
EAF09: 2009 Emerging Artist Fellowship Exhibition (in collaboration with Ninh Wysocan)
Christian de Vietri
Tamara Kostianovsky Mads Lynnerup
Navin June Norling
Erik & Ninh Wysocan
Socrates Sculpture Park
Socrates Sculpture Park is pleased to announce the opening of EAF09: 2009 Emerging Artist Fellowship Exhibition on Sunday, September 13, 2009 (2-6pm), featuring new works by the Park's current resident artists. This year, Socrates awarded fellowships to: David Brooks, Pilar Conde, Zack Davis, Christian de Vietri, Aaron King, Zak Kitnick, Lynn Koble, Tamara Kostianovsky, Mads Lynnerup, Wyatt Nash, Navin June Norling, Andréa Stanislav, Brina Thurston, Kon Trubkovich, Lan Tuazon, and Erik & Ninh Vysocan.