re-title.com
25 March 2011
 Sculpture & Installation  

WHITE FLAG PROJECTS, St Louis
KONRAD FISCHER GALERIE, Berlin
GALERIE MEHDI CHOUAKRI, Berlin
THOMAS DANE GALLERY, London
ANDREW EDLIN GALLERY, New York
 

 
WHITE FLAG PROJECTS, St Louis
 
 
Karthik Pandian, Cahokia Byobu (Broken Screen), 2011
 
Karthik Pandian
Cahokia Byobu (Broken Screen), 2011
Mirror pane glass, rammed earth with cement, shells, mason?s line, 16mm film strips, glass shards
Dimensions variable;
as installed, rammed earth wall sections 24 x 96 x 6 inches each, mirror pane glass sections 24 x 96 x .25 inches each
294 x 96 x 36 inches overall
 
 
KARTHIK PANDIAN
 
March 12 – April 23, 2011
 
What happens when history finds its gaze in the mirror? How does it regard itself? Its figure? Its look? Like the exhalation of a stale gas, this reflection bespeaks a spiritual emptiness that pervades Elements of Style. The third and final installment of a trilogy of exhibitions that draws on the artist's two-year investigation into the celestial, archaeological and architectural milieu of the Cahokia Mounds State Historic Site in Collinsville, Illinois, Elements of Style presents an ensemble of new sculptural, sound, light and wall works that brings this body of work home to the locale Pandian's research began.
 
Using the rammed earth technique and repurposed mirror pane glass from his 2010 exhibition Before the Sun at Midway Contemporary Art, Minneapolis, Pandian has created a new large-scale sculpture that bisects the gallery diagonally into two triangular halves. Inspired by the persistence of the Japanese folding screen as an icon of chic, generalized spirituality, the sculpture, entitled Cahokia Byobu (Broken Screen), embraces the functional and decorative possibilities of the form, while playing on the subject of landscape and pastiching the artist's own fascination with ancient and modern entanglements.
 
The two wall works, or Shards, included in the exhibition are remnants from the formwork used to create the rammed earth pillars featured in the artist's exhibition Unearth at the Whitney Museum of American Art. Exhibited here for the first time, the fragments bear the traces of the pillars' varied earthen surfaces and are incised with the grid that has come to symbolize the archaeological-architectural horizon dividing the trilogy.
 
For the initial evening of the exhibition, Pandian has created a work in the tradition of the nightly son et lumière shows that animate architectural monuments from French châteaux to the Pyramids of Giza. A program of shifting colored light inspired by the lighting design of the Cahokia Mounds Interpretive Center is set to an ambient soundtrack based on field recordings from the apex of Monk's Mound during sunset. While the sound and light show represents a significant time-based feature of the project, Elements of Style is Pandian's first exhibition to emphasize sculpture without a moving image component.
 
 
White Flag Projects
4568 Manchester Ave
St Louis, MO 63110
Missouri
T: +1 314 531-3442
 
 
 
 

 
KONRAD FISCHER GALERIE, Berlin
 
 
 
Johannes Wald
Presentiment, notion, agglomeration, reconsideration, doubt, confidence and devotion cast in bronze
2011
Bronze
80 x 140 x 17 cm
Courtesy of Konrad Fischer Galerie
 
 
JOHANNES WALD
 
March 18 - April 23, 2011
 
Konrad Fischer Galerie Berlin is pleased to announce the opening of Johannes Wald's first solo exhibition. In his most recent works Wald (born 1980) explores the relationship between form, language and meaning.
 
Seven bars, each emanating from a cone shape and cast out of bronze are hanging on a sideboard and together build the work 'presentiment, notion, agglomeration, reconsideration, doubt, confidence and devotion cast in bronze'. The bars and cone shapes are casts from channels and cones through which the liquid metal is poured into the foundry mold. While the cones and channels themselves suggest many possible forms which could be realized, the title of the work absurdly ascribes a meaning to each channel.
 
The theoretical blind spot of the cast channels becomes rather literal in the work 'Pedestal for a Muse’. The viewer is invited to fill an empty couch with his own vision of an ideal muse. Similar to this but completely based on language are two text pieces titled ‚Ekphrasis’ which challenge the imagination of the viewer. As suggested by the title the works are detailed descriptions of sculptures which succeed in different ways to express emotional content and liveliness of form. According to the artist, this kind of expression seems to only be possible through language, clearly marking one of the constant characteristics of Wald’s work. Doubting the potential of sculpture to express certain feelings or complex ideas in any appropriate way, Wald does not consider his works, language-based or three-dimensional, as sculpture but rather as replacements or approximations revealing the artist’s desire for an ideal and emotional art.
 
The first piece that one sees upon entering the exhibition is an unimposing work - a single sheet in a wooden frame hanging on a huge wall. Only with a closer look is one able to see the name of the artist and the word 'sculptor’ underneath, both unprinted, the letters are only embossed. Language, made three-dimensional through relief printing, appears as a legitimate tool of sculpture. The timid addition to the name of the artist suggests doubts about the validity of his own work as sculpture while at the same time revealing a strong desire to work within the realms of this classical genre.
 
 
KONRAD FISCHER GALERIE
Lindenstrasse 35
10969 BERLIN
Germany
T +49 (0)30 505 968 20
 
 
 
 

 
GALERIE MEHDI CHOUAKRI, Berlin
 
 
Luca Trevisani, Floating bananas, 2011 (Detail)
 
Luca Trevisani
Floating bananas, 2011 (Detail)
Bananas, plastic bird spikes, plexiglass projection screen, projector, digital video
Variable dimension, Unique
Courtesy of Galerie Mehdi Chouakri, Berlin
 
 
LUCA TREVISANI
Interval Training
 
March 12 – April 16, 2011
 
About four years ago the Fine Art Fair took place in Frankfurt. Michael Neff had invited several galleries to join an art fair of “a different kind“. On this occasion Norberto Ruggeri (a close friend and colleague) told me about a “promising young artist from Italy“. And on the same day the art critic Luca Cerizza came to my booth and spoke of the same young man with great excitement – and that‘s how I heard about Luca Trevisani for the first time. Shortly thereafter, in the summer of 2007, we met in Berlin. He had received the Premio Furla per L’Arte and was completing his residency at the Künstlerhaus Bethanien.
 
At his studio there was a big surprise – I had not seen anything like it. A long conversation followed, I learned about his approach, understood his basic idea and was thrilled: Trevisani does not deal with everyday topics, but it is really about physical correlations and philosophical themes. He turns them into fragile sculptures and abstract drawings or also into experimental films.
 
Abstract topics relating to classical subject matter – like from the Renaissance or Arte Povera – can be found, but also transience, time, or fragility play a role in form and content. Fluctuation, metamorphosis, variability, balance or a certain proximity to alchemy are characteristics of his work.
 
Two mobile sculptures constitute the center pieces of Luca Trevisani’s second exhibition at the gallery. The structures hanging from the ceiling function simultaneously as projector and projection screen for his newest film. Bundled bananas form the elements of the mobiles, their weight keeps the projector and the screen in a state of equilibrium: Floating Bananas.
 
Luca Trevisani explains:
The underlying indeterminacy of the physical world, and perhaps all the more so our experience of it, reserves a rebuke for any kind of fixity. Salvation is not in the closed shape of things. Getting in contact with Floating Bananas is entering into an event of relations. It’s about composing relationships; it’s about energies, but energies without qualities. Pure energies. Stages of vagueness, of definition, of realities opened to the flow, to our own determination through change. A living sculpture that addresses questions concerning the construction of communities as well as potential locations of social and political alliances between people. Learning from Sir Isaac Newton’s combined motions, we can set up an excellent instrument through which we look at the world. The only way to understand things is to make a small model that can be held in hand, to alienate them from the everyday.
– Mehdi Chouakri, Berlin 2011
 
 
Galerie Mehdi Chouakri
Edison Höfe
Invalidenstrasse 117 / Eingang Schlegelstrasse 26
10115 Berlin
Germany
T +49 30.28 39 11 53
 
 
 
 

 
THOMAS DANE GALLERY, London
 
 
Anya Gallaccio, Where is Where it's at
 
Anya Gallaccio
Where is Where it's at
Courtesy of Thomas Dane Gallery, London
 
 
Anya Gallaccio
Where is Where it's at
 
23 Mar 2011 - 30 Apr 2011
 
“Look closely at a crack in the wall and it might as well be the Grand Canyon” – Robert Smithson
 
Where is Where it’s at is a journey through space and time, for which Anya Gallaccio culled sand from the stratified deposits of the deserts of Nevada, Utah and Arizona, and transported it to London. The trans-North American and transatlantic voyages of the sand evokes the personal journey of the artist herself, since she left the UK three years ago to take on the position of professor of visual arts at the University of California in San Diego.
 
The journey started in Death Valley; an almost cliché and cathartic Great-West American road-trip, to end up in London as an ordered theatre of shades and tones.
 
Formally, the sand, which combines with fragments of glass, is organised into the image of a scattered projection; where direct sunlight falls onto the gallery floor and walls at different moments of the day. The window, normally an apparatus, is used here as a template and Gallaccio plainly ‘projects’ an imaginary landscape as well as her own experience in the desert through the lens of architectural design. Starting from this literal logic, Gallaccio produces an intervention that engages with both the legacies of Land-Art and early 20th century Abstraction.
 
Possibly due to the context of the 19th century London domestic space, or activated by collective memories originating in Panavision, the sand is chromatically enhanced. And what might have otherwise appeared as the colours of pre-history (umber, yellow-ochre, ferrous reds, yellows, pale greys) here combine in an almost constructivist composition and a hyper-saturated play of sensuous visuality, often a hallmark of Gallaccio’s work.
 
Casting light in sand and glass on the gallery floor invites the imagination out the window; effectively turning the typical conditions of installation inside-out. Knowledge of the massive collective power and journey of these microscopic particles of sand amplifies the metaphorical relationship to light and the visual.
 
 
Thomas Dane Gallery
11 Duke Street
St. James
London SW1Y 6BN
T: +44 (0) 20 7925 2505
 
 
 
 

 
ANDREW EDLIN GALLERY, New York
 
 
Thornton Dial, Freedom Cloth, 2005
 
Thornton Dial
Freedom Cloth, 2005
cloth, coat hangers, steel, wire, artificial plants and flowers, enamel, and spray paint
86 x 68 x 57 Inches
Courtesy of Andrew Edlin Gallery, New York
 
 
THORNTON DIAL
 
March 19, 2011 - April 30, 2011
 
Andrew Edlin Gallery is proud to announce the opening of Thornton Dial, its first exhibition of work by the renowned, Alabama-based, self-taught master of contemporary mixed-media-painting and assemblage sculpture, whose art the gallery now exclusively represents.
 
This showing of Dial's work, the artist's first solo exhibition in New York in more than a decade, will coincide with the presentation of "Hard Truths: The Art of Thornton Dial" at the Indianapolis Museum of Art (through September 18, 2011). Highlighting the ways in which Dial's work addresses some of the most urgent issues of our time—war, racism and bigotry, poverty, the affirmation of personal dignity in the face of oppression—this museum exhibition is the most comprehensive survey ever mounted of the artist's work in various media.
 
Similarly, the gallery's "Thornton Dial" exhibition will offer a focused selection of works that touch upon the artist's enduring themes and that showcase the variety, richness and complexity of his art-making techniques. Dial, who was born in 1928, worked in and around Bessemer, Alabama, as a bricklayer, carpenter, and later as a welder in a railway-carriage factory. He also made steel furniture in a family-owned business and went on to produce mixed-media constructions in the Southern, African-American tradition of homemade yard art, which later evolved into the large, abstract assemblages and wall-mounted, three-dimensional paintings for which he is now internationally known.
 
Among other emblematic works, Thornton Dial will feature such wall-mounted, mixed-media paintings as We All Live Under the Same Old Flag (2010), Dial's multi-textured take on Old Glory made of cloth, wood, bones, wire, canvas and other materials, all painted red, white and blue, and Master of Space (2004), a picture of a noble eagle with spread-open wings made of painted neckties, set against a gridded background, that exudes a haunting, funereal air. Freedom Cloth (2005) is a free-standing piece made up of numerous, paint-colored swatches of fabric tied to a metal frame and little bird forms made of similar scraps of cloth. Also made with coat hangers, artificial flowers and spray paint, this sculptural work, at once enigmatic and charming, has the strange allure of a large-scale talisman.
 
As Joanne Cubbs, the IMA's curator of "Hard Truths," writes in the exhibition's catalog: "While inspiring our humanity, Dial's art also stirs the imagination....There is an unexpected and beguiling beauty in Dial's compositions of crumbling castaway materials, a dark poetry that turns the world's detritus into a medium for dreaming its highest aspirations."
"Hard Truths" will travel to the New Orleans Museum of Art, The Mint Museum of Art, Charlotte, and the High Museum of Art, Atlanta, through 2013.
 
Dial's work began to attract art-world attention in the 1980s. In 1993, it was the subject of a large exhibition that was presented simultaneously at the New Museum of Contemporary Art and the American Folk Art Museum in New York. In 2000, the artist's work was included in the Whitney Biennial, and in 2005-2006, the Museum of Fine Arts, Houston, presented a major exhibition titled "Thornton Dial in the 21st Century." Dial's works can be found in many notable public and private collections, including those of, among other institutions, the High Museum of Art, Atlanta; the Museum of Fine Arts, Houston; the Whitney Museum of American Art, New York; and the Philadelphia Museum of Art.
 
 
Andrew Edlin Gallery
134 Tenth Avenue
New York, NY 10011
T +1 212-206-9723
 
 
 
 
 
 

 
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