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Greene Contemporary, New York |
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Voshardt/Humphrey
Double Bind / Double
Blind
April 22 - May 24, 2009
Greene Contemporary is pleased to
present new photographs and video by collaborative artists
Robyn Voshardt and Sven Humphrey in their
first New York solo exhibition.
Voshardt/Humphrey explore states of being and patterns of
thinking - from anxiety and restlessness to motivation and
control - on personal, social, and institutional levels. Their
wide-ranging inquiry contrasts claustrophobic interiors with
outdoor spaces, analog and digital sources, color with black
and white, and small to large scale. Though much of their
imagery seems uninhabited, appearing like a mise-en-scène
minus characters, on closer inspection one finds evidence of
human tampering, management and intervention even in views
that appear to be straightforward landscapes.
Voshardt/Humphrey remain fundamentally concerned with
cognitive processes, and the dilemma of holding two opposing
viewpoints in one's mind simultaneously.
Concepts of time are a recurring thread throughout their
work. Their video often drastically compresses or stretches
real time, while photographs compare overlapping temporal
records: from geologic "deep time" to natural and economic
cycles, to moments that are fleeting. Still and moving images
also exchange roles. Their installation of archetypal stills
can be read like a timeline, or seen relationally as a sort of
perceptual shorthand within a complex visual syntax. As the
impression of an overall gestalt, or as a mind-map of loosely
joined thoughts, images resonate as the viewer moves through
the space - met by the arresting pause of a fixed-frame video
on the opposite wall of the gallery.
Voshardt/Humphrey's practice extends an open invitation
to chance and necessitates constant reinvention, reordering
and interpretation rather than comfortably relying on a
particular style or theme to fulfill a projected photographic
outcome. Their process of seeing is a messy business of
manipulating images while keeping a mindful eye on multiple
interests - a visual mash-up like life.
Voshardt/Humphrey have worked together since meeting at
the School of the Museum of Fine Arts, Boston. Exhibitions and
screenings include V/07 Videoart Fair in Venice, Italy;
Arteleku and KM Kulturunea at MID_E in San Sebastían, Spain;
Directors Lounge, Berlin; VT2 Vernacular Terrain, Australia;
DiVA Streets New York; Ellen Curlee Gallery, St. Louis;
LiveBox, Chicago; Selby Gallery at Ringling School of Art
& Design, and Bleu Acier. Their work is in the permanent
collections of the John & Mable Ringling Museum of Art in
Sarasota, Tampa Museum of Art, and Museum of Fine Arts, St.
Petersburg. Voshardt/Humphrey live and work in New York.
Images:
Robyn Voshardt/ Sven Humphrey, Blindsight,
Owl (L1009793), 2008
Archival pigment print, ed. 5
32 x 39 cm / 12.5 x 15.5
in.
Courtesy of Greene Contemporary, New
York
Robyn Voshardt/ Sven Humphrey, All that is Solid
Melts into Air (P1100384), 2009
Archival pigment print, ed. 3
112 x 187 cm / 44 x 73.5
in.
Courtesy of Greene Contemporary, New
York
Greene Contemporary
9 Clinton Street,
between E. Houston and Stanton St.
Lower East Side
New
York, NY 10002
+1 212 228 8282
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Galerie Christian Lethert, Cologne |
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KATHARINA SIEVERDING
RESSOURCE TERABYTE
2009
22 April - 22 May 2009
"There exists a long tradition of thinking on photography
in terms of its privileged access to the real. Unlike the
painting or the drawing, the photograph was alleged to cut
through the aesthetic and cultic value: what the camera
produced was a document, without aura and free of aesthetic
traps".(1)
The recent works by Katharina Sieverding
focus on montages and interfaces of spaces, references, and
protagonists carried to the extreme.
"Only then, when pushed to its limits, can it (the imago)
be held still long enough to begin to ask questions of its
nature. What is this thing, the imago, which stands for and
yet is not "I'? And what is it that plays with the imago,
which works on it from the outside, shapes it, sculpts it? For
by definition it is a being that does not stand in the
representation, but is external to it, is faceless,
"abstract"".(2)
The 23 works in the series "Ressource Terabyte 2009" are
upright formats, measuring 190 x 125 cm each, for the most
part divided horizontally into three parts and of intensive,
complementary, polarizing colour, for example, yellow/magenta,
red/green, ultramarine/orange-red, turquoise/pink,
coelin/yellow, white/red, etc. The basic structure, the
tectonics of this three-part structure are black/white
documentaries, fragments of the obsessive recordings of
systems of art, economy, history, affection, personal
performances, decay.
These colours, filtered highly analogously, function like
an abstracting, melting, interdisciplinary cast medium, which
may rephrase the questions concerning the colour of truth of
documentarisms in the field of art(3), the symbolism of the
colours of truth, the affective appropriation and feelings,
the "affective turn"(4), and free itself from their
conventions. The concern is to establish a counter power.
"Perhaps when the imago is built and elaborated this strongly,
it can push back some of the forces of normalization and speak
in its own name."(5)
(1),(2),(5) in: "Katharina Sieverding: Close Up",
PS1/MoMA, NY 2004:
Norman Bryson: What if we are not
subjects at all? On Sieverding's Abstraction, p. 17, p. 19, p.
18.
(3) in: Hito Steyerl , " Die Farbe der Wahrheit",
Verlag Turia + Kant Publishers,Vienna 2008
(4) in: Sabeth
Buchmann and Kathi Hofer : "Empfindung oder in der Nähe der
Fehler liegen die Wirkungen", Vienna 2009
Image:
Katharina Sieverding: Ressource Terabyte
14, 2009
A/D/A Process, Acrylic, Steel
190 x 125
cm
Courtesy of Galerie Christian Lethert
Galerie Christian
Lethert
Antwerpener Straße 4
D-50672
Cologne
Germany
+49 (0)221 35 60 590
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Yancey Richardson Gallery, New
York |
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Masato Seto
Binran
April 2 - May
9, 2009
Project gallery: Lisa Kereszi
Fantasies
West gallery: Hellen van
Meene
The Yancey Richardson Gallery is
pleased to present Binran, an exhibition of
photographs by Tokyo-based photographer Masato
Seto. The exhibition runs simultaneously with an
exhibition of the artist's work at Jackson Fine Arts in
Atlanta and is accompanied by Seto's fourth monograph, also
titled Binran.
Following on his earlier series, Living Room,
which featured individuals and their effects squeezed into
diminutive Japanese living rooms, and Picnic,
comprised of portraits of reclining couples in Tokyo's parks,
in Binran Seto once again explores the relationship
between an individual and their environment.
Selected from an extensive series taken throughout Taiwan
between 2005 and 2008, Masato Seto's photographs present
portraits of young women, alluringly dressed and seated alone,
in brightly lit glass structures. Known as "betel nut
beauties", the women sell binran, a stimulant made from a
mixture of lime, binran leaf and areca nut, which when chewed,
produces a mild euphoria. Although betel nut consumption is
common throughout India and Asia, the distinctive roadside
kiosks with their betel nut beauties are unique to
Taiwan.
Photographed at night, with floor to ceiling glass walls
and brightly colored interiors, the kiosks are fully visible
to passerby. Each brilliantly lit mise en scene features a
sexily attired young woman seated on a high stool at a narrow
counter, facing blankly out into the darkness. The glowing
containers suggest aquariums whose decorative inhabitants are
on display for visual consumption. Although in practice,
binran customers stop on the side of the road and wait for the
girls to bring their betel and areca nut to their vehicles,
Seto's photographs are devoid of any interaction between buyer
and seller, and present the girls as being encased within
their peculiar world.
In addition to Binran, Masato Seto has produced four
books: Bangkok, Hanoi (1989), Silent Mode
(1995), Tooi and Masato (1998), and Picnic,
(2006). The exhibition Binran won the 2008 award from The
Photography Society of Japan. Seto's work is held in the
collections of the Tokyo Metropolitan Museum of Photography,
the J. Paul Getty Museum and the Kawasaki City Museum.
Although he has exhibited regularly in Japan, this is the
artist's first exhibition in the United States.
Image:
Masato Seto, Untitled, from the Binran
series, 2007, 020-005
40 x 50 inch chromogenic print,
Signed, titled, dated and editioned on label on verso,
Edition of 6, Also available in 30 x 40 inches, edition of
8
Courtesy of Yancey Richardson Gallery, New
York
YANCEY RICHARDSON GALLERY
535
West 22nd Street 3rd floor
NY 10011
New York, NY
+1
646-230-9610
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Mireille Mosler, Ltd, New York |
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Surveillance from the Doll House
Nathania
Rubin, Cindy Sherman, Laurie Simmons, Karen
Yasinsky
April 15 - May 23, 2009
Mireille Mosler, Ltd. is pleased to
announce Surveillance from the Doll House, an
exhibition that challenges notions of identity and the
inanimate through a convergence of drawing and puppet
animation by five consummate female artists.
Each distinctive and sundry video brings variations on
the inanimate, corporal, or theoretical assumption of identity
in a world of shifting gender roles. While the show will
include artists at different stages of their careers as well
as different aesthetic and conceptual approaches, all works
will share a fascination in the tactile, emotional or
political manipulation of their characters.
In Cindy Sherman's Doll Clothes
(1975), a paper doll comes to life, trying on outfits as proxy
alter-egos before being stripped and put away by her owner.
Stuck in a two-dimensional reality and ultimately subject to
the desires of another, the doll is portrayed equally through
her rebellion and vanity, which seasons the social criticism
with healthy doses of humor and play.
Karen Yasinsky's Still Life With
Cows (2002) is a non-linear fable in which a paralyzed
hand-made doll and her companion struggle against the
stillness that has enveloped their lives. Interrupted only by
the surreal appearance of an oversized, mythic donkey, the
characters move from a relaxing Wyoming pastor to a stifling
shag-rugged interior, suggesting the complexities at work in
an existence defined by monotony.
Evolved from her walking object photo series,
Laurie Simmons' The Music of Regret
(2006) castes ventriloquist dummies and heavily costumed
dancers in a romantic, musical saga that perverts and converts
the quintessence of the genre. When the female dummy is
brought to life (transformed into a human played by Meryl
Streep,) the resurrection frustrates the characters' desire
for recognition, communication and individuality.
Through a discussion between Sigmund Freud and Anne
Frank, Nathania Rubin's delicate, quivering,
drawing-animation, My Girl: A Case Study (2009),
explores the existential anxieties of a young woman in
contemporary times. The characters serve as figurative
representations of the artist's personal longings as well as
archetypical stand-ins for our interconnected souls.
Whether dressed to play a part or a plaything to address,
the dummies, dolls, puppets, and personalities of
Surveillance from the Doll House represent a
mysterious combination of vitality and immobility. With
extreme sympathy, intrepid frankness, and a cunning sense of
narrative, issues as well as objects, are daringly brought to
life.
Image:
Laurie Simmons, Still from The Music of
Regret, 2005-6
35 mm film transferred to HD CAM, 40
minutes
Courtesy of the Artist and Salon 94, New
York
Mireille Mosler, Ltd.35 East
67th Street New York, NY 10065 +1 212.249.4195
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