MAY 19 - JUN 30, 2012
David Altmejd
Liz Dischenes
Erik Wysocan Andrea Rosen Gallery, Gallery 2
New York
David Altmejd
Liz Dischenes
Erik Wysocan Andrea Rosen Gallery, Gallery 2
New York
DEC, 2011
SUBMISSIVE INSCRUTABILITY
Carol Bove on Exhibiting An Interview with Carol Bove for Metropolis M Magazine December / January Issue.
Onderdanige Ondoorgrondelijkheid
Carol Bove Over Tentoonstellen
Interview met de 'moeder' van de hedendaagse sculptuur Carol Bove over het installeren van kunst.
View PDF
SUBMISSIVE INSCRUTABILITY
Carol Bove on Exhibiting An Interview with Carol Bove for Metropolis M Magazine December / January Issue.
Onderdanige Ondoorgrondelijkheid
Carol Bove Over Tentoonstellen
Interview met de 'moeder' van de hedendaagse sculptuur Carol Bove over het installeren van kunst.
View PDF
SEPT, 2011
NORFOLK
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, Erik Wysocan
Thierry Goldberg, New York
NORFOLK
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, Erik Wysocan
Thierry Goldberg, New York
JUL, 2011
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.
View PDF
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.
View PDF
MAR 17 - APR 23, 2011
A Thousand & One Nights
Erik Wysocan
Andrea Rosen Gallery, Gallery 2
New York
Images →
2011
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, j.eckert@rosengallery.com or Renee Reyes, r.reyes@rosengallery.com
A Thousand & One Nights
Erik Wysocan
Andrea Rosen Gallery, Gallery 2
New York
Images →
2011
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, j.eckert@rosengallery.com or Renee Reyes, r.reyes@rosengallery.com
SEPT 4, 2010
HALMOS / ∎
New Publishing Project & Book Release
Dexter Sinister
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. . . . . More: http://www.dextersinister.org/index.html?id=246 Also: http://shop.dextersinister.org/index.html?id=242&more=1 http://www.dextersinister.org/index.html?id=244
http://shop.dextersinister.org/index.html?id=245&more=1 http://www.halmos.us.com/
HALMOS / ∎
New Publishing Project & Book Release
Dexter Sinister
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. . . . . More: http://www.dextersinister.org/index.html?id=246 Also: http://shop.dextersinister.org/index.html?id=242&more=1 http://www.dextersinister.org/index.html?id=244
http://shop.dextersinister.org/index.html?id=245&more=1 http://www.halmos.us.com/
JUL 9 - AUG 13, 2010
In Here
Michele Abeles, Uri Aran, Jamie Isenstein, Halsey Rodman, Erik Wysocan
Laurel Gitlen,
New York FOR IMMEDIATE RELEASE In Here Michele Abeles Uri Aran Jamie Isenstein Halsey Rodman Erik Wysocan 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 Gallery, London. 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.
In Here
Michele Abeles, Uri Aran, Jamie Isenstein, Halsey Rodman, Erik Wysocan
Laurel Gitlen,
New York FOR IMMEDIATE RELEASE In Here Michele Abeles Uri Aran Jamie Isenstein Halsey Rodman Erik Wysocan 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 Gallery, London. 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
Preconceived Iconography
Paul McMahon, Mads Lynnerup, Erik Wysocan, Stephen Vitiello, Frank Selby,
Museum 52,
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.
Preconceived Iconography
Paul McMahon, Mads Lynnerup, Erik Wysocan, Stephen Vitiello, Frank Selby,
Museum 52,
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 r.reyes@rosengallery.com
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 r.reyes@rosengallery.com
SEPT 13, 2009 - NOV 30, 2010
In Practice Fall '09
Jason Kraus, Meredith Nickie, Marlo Pascual, Xaviera Simmons, Marianne Vitale, Erik Wysocan
SculptureCenter,
New York
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.
In Practice Fall '09
Jason Kraus, Meredith Nickie, Marlo Pascual, Xaviera Simmons, Marianne Vitale, Erik Wysocan
SculptureCenter,
New York
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
Evading Customs
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
Brown Gallery,
London
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: www.browngallery.co.uk/evadingcustoms.html 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 info@browngallery.co.uk. –Peter J. Russo and Lumi Tan
Evading Customs
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
Brown Gallery,
London
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: www.browngallery.co.uk/evadingcustoms.html 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 info@browngallery.co.uk. –Peter J. Russo and Lumi Tan
SEPT, 2009 - MARCH, 2010
EAF09: 2009 Emerging Artist Fellowship Exhibition (in collaboration with Ninh Wysocan)
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 Erik & Ninh Wysocan
Socrates Sculpture Park,
New York
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.
EAF09: 2009 Emerging Artist Fellowship Exhibition (in collaboration with Ninh Wysocan)
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 Erik & Ninh Wysocan
Socrates Sculpture Park,
New York
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.