25 January 2008

re-title.com newsletter - Sculpture & Installation January 2008

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David Risley Gallery London Galerie Isabelle Gounod, Paris Permanent Gallery Brighton Gitte Weise Galerie Berlin Fieldgate Gallery London SculptureCenter LIC New York Next Newsletters         sign up!

David Risley Gallery London HENRY KROKATSIS See Better Daze 18 Jan - 24 Feb 2008 David Risley Gallery is proud to present their second solo show by Henry Krokatsis. Krokatsis began taking the discarded remnants of consecrated prayer candles from churches in 2002 when he recognised these votive ciphers for hopes, prayers and invocations as a highly charged meeting point of the metaphysical and the material. The remnants of 4,321 of these candles have been melted down and reformed into a huge set of stag antlers, a wick coming from each tine. A seemingly practical object, it rests at odds with its physical and emotional presence. In 'Leadedlight' 2007, the aesthetic of the church is again reconfigured. Here, Krokatsis has collected hundreds of pieces of abandoned glass - from broken window panes, to discarded glass fronted cabinets found on the streets of Harlesden, London. These have been painstakingly cut and reassembled to form a large, complex patterned leaded window that conjures up a salvaged remnant from an out of kilter Cathedral. Both these works rely in their making, on wilful repetitive action. Selecting and collecting a volume of material reeking of abandonment or disorder and bringing it into a highly crafted, structured framework. His work is a revelation of previously hidden associations found between our response to repetition and structure as both a framework for liberating the spirit- in prayer, chanting mantras or saying Hail Marys for example, and as a framework to contain madness - as in an obsessivecompulsive disorder. As well as being an act of faith in the bankrupt, the work emits a low level hum of lyrical psychosis as it traverses the border between the divine and the destitute. image: Henry Krokatsis Leaded light, 2008 Courtesy of David Risley Gallery, London David Risley Gallery 45 Vyner Street London E2 9DQ David Risley Gallery, London Read on... David Risley Gallery, London

Galerie Isabelle Gounod, Paris Dominique ANGEL Supplementary piece 18 Jan - 1 Mar 2008 Dominique Angel's singularity resides in the multidirectional character of his work. One thinks he is a sculptor, but he pops up as a photographer or a video maker. One considers him as a photographer and he sends us a collection of short stories or a novel. One reverts to the video maker and he then concocts a performance for us or even takes a series of drawings for us out of his magical hat. He offers us a cross section of types, and questions that art poses today: what has happened to beauty and ugliness, the sublime and the trivial, the common and the well versed? In the partition that Dominique Angel "plays", there is a well versed blend of types that evokes Picasso and Raymond Roussel, Alphonse Allais and Marcel Duchamp, Beckett and Buster Keaton. Dominique Angel plays on humour and mockery. He opens them up on an untimely and generous mode at the same time: One quickly understands that for him, they are not necessarily synonyms for distraction but that they work as a thought mechanism. For several years, his attachment to the concept of a unique work of art is expressed through a series of monumental pieces (sculptures), photographs, videos and drawings that he gathers under the name "Supplementary Piece". Dominique Angel was born in 1942, he lives and works in Marseille, France. As a sculptor, performer, video maker, photographer and a writer as well, he has participated in numerous exhibitions in France and abroad, Canada, Québec, Germany, Holland, Belgium, Egypt, Vietnam, Laos.. His work has been recently exhibited at : FIAC Cinéma, Palais de Tokyo, Paris, Villa Tamaris, la Seyne-sur-Mer, Musée de la Céramique in Rouen, Villa Arson in Nice, Domaine départemental of Chamarande, Centre d'Art Contemporain de Basse Normandie, Le 19, Centre d'art contemporain in Montbéliard, "Marseille, artistes associés", le Frac, musée de La vieille Charité Marseille, Centre d'art de Meymac, Sélection du FRAC, Fondation Maeght,Saint Paul de Vence. International Contemporary Art Center - Montréal, Galerie Optica, Contemporary Art Center of Montréal, 2nd Biennail Visual Arts, Matane, Canada, Centre d'art contemporain, Chicoutimi - Québec, Galerie VU - Québec, Les Brasseurs, Centre d'art contemporain, Liège - Belgium. Centre culturel Français, Alexandrie, Egypte. Centre culturel Français, Ho Chi Minh-Ville, Vietnam, Biennale de l'Image de Luang Prabang, Laos. His work is present in numerous collections, both private and public : Fonds National d'Art Contemporain, Musée de Belfort, Fonds Communal d'Art Contemporain de la Ville de Marseille, Collection départementale d'Art Contemporain de l'Essonne, Musée d'Art Contemporain de Nice. FRAC Provence Alpes Côte d'azur, Centre d'Art Contemporain, Québec.. Image: Dominique ANGEL "Supplementary Piece" plaster sculpture and objects, gold leaf and silver leaf gilding 60 cm x 60 cm 2007 Courtesy of Galerie Isabelle Gounod, Paris Galerie Isabelle Gounod 4, rue Fessart Boulogne-Billancourt 92100 Paris France Galerie Isabelle Gounod, Paris Read on... Galerie Isabelle Gounod, Paris

Permanent Gallery Brighton Keith Harrison Superfluid 2 Feb - 2 March 2008 "Keith Harrison is one of Britain's leading contemporary ceramicists, pushing the boundaries of ideas and the techniques for creating ceramics by making visible what is normally a hidden part of ceramic art, the firing process." * PERMANENT GALLERY presents: SUPERFLUID, an exhibition and series of live-firing events by the innovative ceramics artist Keith Harrison. Experimenting with electric currents and unpredictable processes of transformation, three live-firings will be held at various locations across Brighton and Hove: PERMANENT GALLERY, The Regency Town House and a third venue TBC. An exhibition of developmental drawings, residues and subsequent documentary evidence from the events will gradually accumulate at PERMANENT GALLERY. The growing exhibition will be a celebration of the temporality of the events and allow a closer re-examination of Keith Harrison's live- ceramics practice. This series of ambitious live-firings has been developed specifically in relation to each venue, in response to its architectural characteristics and locale. 1. GRAND at PERMANENT GALLERY - in response to the process of restoration since the IRA bombing of 1984, a scale model of The Grand Hotel, comprising a raw brick centre, skimmed with coloured layers of a clay/sugar mixture will be installed in the window of the gallery. Nine 1KW heating elements will be embedded within the model and switched on for a period of one hour. Microphones will also be sealed within the model and attached to speakers, conveying the live sounds of internal firing, further making the hidden processes audible as well as visible. 2. TWINS at The Regency Town House - within the basement kitchen in the midst of restoration, two columns composed of a clay/paint mix will be cast on top of hob cooker rings. The columns' concentric colours are derived from the house's original Regency colour scheme and also echo sticks of 'Brighton Rock'. The cooker hobs will be switched on intermittently, melting the columns from the base up, causing them to steam and slowly collapse. 3. M25 LONDON ORBITAL at venue TBC - an exact ceramic replica of a scalextric version of the M25 will be installed in an off-site venue for one evening. Two electric heating elements will be embedded in the slots of the 38-metre track that will then be filled with glaze material. At a designated time the elements will be heated rapidly to 900oC to produce two continuous blue glass lines running the whole length of the circuit, creating a temporary glass facsimile of the M25. The concurrent exhibition at PERMANENT GALLERY will accumulate alongside the sculptural residue of GRAND, replacing documentation and evidence from previous projects that will initially be shown. This exhibition will transform and grow over the period it is open to the public, echoing the transformation and fluidity of the live-firing events. * from 'Breaking the Mould: New Approaches to Ceramics', by R. Barnard, N. Daintry and C. Twomey, Black Dog Publishing, 2007, p.110 Image: Keith Harrison Courtesy of the artist and PERMANENT GALLERY, Brighton PERMANENT GALLERY 20 Bedford Place Brighton BN1 2PT UK PERMANENT GALLERY, Brighton Read on... PERMANENT GALLERY, Brighton

Gitte Weise Galerie Berlin Sarah Robson new work 19 Jan - 23 Feb 2008 On questions concerning interior spaces it is essential to acknowledge the enigma of the corner, for it cannot be taken for granted, or underestimated. It's co-ordinates in architecture represent the point where intersecting planes converge, where the walls meet each other, or the floor and ceiling finish. In art as in architecture reconsideration of the corner, and hence the cube, has been a focus of thought during the last century. Visual artists from Malevich to Mondrian all paid homage to the corner as a magical and even mystical site. Artists working in the later part of the 20th century such as Robert Erwin, Donald Judd, Sol LeWitt, and Rachel Whiteread each shared associations with this fundamental form. In this her second solo exhibition at Gitte Weise Galerie Berlin, Australian artist Sarah Robson lays bare the mechanisms of her work and draws from the potential energy contained in the moment of transition. Her sculptures emphasise spatial divisions, edges, accumulations, planes and corners, challenging our perception of space while performing gravity defying acts. Corner Composition #I reveals allegiance to El Lissitzky's Proun Room of 1923 in which non- traditional perspectives and surprising materials appear to float as abstract architectural forms. Robson's concern to utilize existing architectural form to support the interwoven elements is central to her working method of situating her work in direct relationship to the given location. Cascading divisions, as explored in Wall Division #1, orchestrate through a strict serial repetition a connection between the divided parts, they are held as if frozen in position by an unknown force. Barriers inherently link the space they divide and connect what they seek to separate. Walls, floor and ceiling all become apparent component parts of the works multi- dimensional, and often ongoing, articulations. Sarah Robson's range of abstract forms coerce us to examine space from a variety of perspectives, ultimately questioning that finite relationship they establish within the gallery space, yet always challenging the restraints of the works internal dynamics. Sarah has been the recipient of Australian awards and major public commissions such as the recently completed entrance court and lobby of Latitude East, World Square Building, Sydney (2007), and among others the Crown Promenade Hotel, Melbourne (2003), and Melbourne's Hilton Airport Hotel (2000). Her works are held in Australian collections such as the National Gallery of Victoria, Melbourne, and Artbank Sydney, as well as numerous private collections in Australia, the U.S., England, and Germany. Image: Sarah Robson Corner Composition #I and #III, 2007 Powder-coated aluminium, dimensions variable Courtesy of Gitte Weise Galerie Berlin Gitte Weise Galerie Tucholskystrasse 47 D-10117 Berlin Gitte Weise Galerie Berlin Read on... Gitte Weise Galerie Berlin

Fieldgate Gallery London MATT FRANKS SHEENA MACRAE RICHARD DUCKER 19 Jan - 10 Feb 2008 MATT FRANKS: "The intensification of common dumb cartoon imagery is at the heart of Matt Frank's sculptures. Taking conventional reduced two dimensional renderings of images such as skulls, nuclear bomb explosions, swirls and vortexes, Franks solidifies these graphic simplifications into three dimensional forms in ludicrously bright acidic or pastel colours. Composited into intricate near baroque, comical and outlandish objects, Franks' sculptures don't seem to be depictions of either straightforwardly inanimate things nor of creatures in their own right. Rather they seem to be bodies that lie somewhere between the two, hybrids with their own mysterious exuberance." © Suhail Malik, 2004 SHEENA MACRAE: Sheena Macrae works the art of compression by playing with our societies' fascination with speed, entertainment, information and nostalgia. She manipulates the product of the cultural industries, takes possession of it and, twisting the principle of post-production, becomes a sort of VJ (Video-Jockey), somewhere between Christian Marclay and Douglas Gordon, appro­priating and parodying standardised forms of narration, Hollywood clichés or economic constraints underlying all-powerful Entertainment. Her new wall-based work is founded on the urban film legend that cinema projectionists will steal their favourite movie frames. She has meticulously researched this field to find some of these surreptitious collectors with images that span from Annie Hall to Brigitte Bardot. "The quality of the epic always resides in a single breathless moment. As if the universe were anchored by sync points, where for just one video frame, one thirtieth of a second, all of its truths are revealed in fragmented, incomprehensively overwhelming glory. It's an indefinable sentiment, expansive beyond language, residing in the intangible realms of the metaphysical. A place not unlike your tv screen. Perhaps Sheena Macrae is a diviner; her ability to extricate the essence from the epic is uncanny.. Like a drug or a diamond, a screen-size cosmos for the taking. Ergonomic, perfect, and larger than life." © Patricia Ellis, excerpt from Flatpack TV, 2005 RICHARD DUCKER: "The use of cement in Richard Ducker's most recent sculptures emphasises a kind of death, or a modernist monumentality, but the objects it coats and with which it is juxtaposed evoke nostalgia, myths soaked in dreams, and fairy tales gone wrong. If a domestic interior is evoked, it is one in which homely things have sprouted aggressive appendages, grown unexpected textures, or multiplied into viral aggregates, as if to embody the nightmares that commodity fetishes might dream of if they fell asleep. Like Proust's madeleine dipped in tea, they evoke memories and sensations according to a logic that combines cultural association with phenomenological fantasies of sensual experiences, often clashing within the same piece.. Emotionally evocative without ever telling a clear story, affecting without being obvious, Ducker's sculptures seem to be there with the mute theatricality of minimalism, yet to engage with notions of transformation. With simple formal means, they excavate fears, anxieties and desires associated with the most visceral of physical sensations - attraction and repulsion, pleasure and pain, need and self-sufficiency. The work keeps referring back to the body, a missing body we as viewers cannot help but imagine filling-in for with our own, transforming it into the ill-fitting piece of a jigsaw we are trying in vain to complete with our presence." (excerpt) © Patrizia Di Bello, 2007 Image: Installation view at Fieldgate Gallery, London January 2008 Fieldgate Gallery 14 Fieldgate Street London E1 1ES Fieldgate Gallery, London Read on... Fieldgate Gallery, London

SculptureCenter LIC New York Tom Burr Addict-Love 13 Jan - 29 Mar 2008 SculptureCenter is pleased to present Addict- Love, a solo exhibition by Tom Burr. In Addict-Love, Tom Burr creates a set of abstract tableaux reflecting on modernity: its history, its personalities, and of course, its style. Burr ruminates on figures, moments, and the heady mises en scène that both gave rise to and were shaped by Modernism's powerful ideology. These groupings include elements that are further developments in Burr's repertory of forms. Burr describes his approach to the making of sculptural work as so many acts in a play, or stills in a film. This theatricality and his allegorical use of specific forms of the theater: platforms/stages, railings, curtains, lighting, mirrors, and personal articles that function as sculptural props suggest a history of modernism, and a history of sculpture, as a series of scripted gestures to be performed. Three figures serve as éminence grise in Addict-Love: Frank O'Hara, Chick Austin, and Kurt Weill. The exhibition title is borrowed from a poem by Frank O'Hara. A poet of the New York School, O'Hara was also a curator at the Museum of Modern Art in the early 1960s, and counted among his circle John Ashbery and Jackson Pollack. Chick Austin, Director of the Wadsworth Atheneum 1927 - 1944, was instrumental in introducing European Modernism to the United States (hosting Picasso's first U.S. museum exhibition in 1934) and making Hartford a gathering place for the international intelligentsia including Gertrude Stein, Le Corbusier, Salvador Dali, and George Balanchine. The composer Kurt Weill is important in Burr's subjective history as an émigré whose work spanned Brechtian theater in 1920s Berlin to Tony Award-winning Broadway musicals. For Burr, each of these men embodied the modern of their own era. Tom Burr's work, infused with both wit and melancholy, re-visits some of the central concerns of sculptural practice of the last few decades: site- specificity, monumentalism, appropriation, and theatricality. Like many of his peers (e.g., Andrea Fraser, Rachel Harrison, John Miller, and Kelley Walker), Burr pursues a critical art that emerges from a dialogue with the context of its production and display. While sculpture is his primary medium, Burr's work draws on and engages with film, theater, music, architecture, and various underground cultures. Biography also enters into many of his sculptures and installations, questioning the foundations of identity construction and subjectivity. In this particular exhibition, the role of author, particularly as director or exhibition maker, moves to the foreground as if the artist is "trying on" different artistic personae. On Saturday, March 8, 6pm Tom Burr presents sculpture in a constricted space & other stories: a cocktail party at SculptureCenter with words by the artist and live music, a homage to Chick Austin, chairs, and other sources of influence in Burr's work. Burr is a graduate of the School of Visual Arts and the Whitney Independent Study Program. He lives and works in Norfolk, Connecticut and New York. Burr has exhibited extensively throughout Europe in solo and group exhibitions, and was included in the 2004 Whitney Biennial. He has had recent solo exhibitions at the Secession (Vienna, Austria, 2007); and Musée cantonal des Beaux-Arts, Lausanne (Lausanne, Switzerland, 2006). His work will be seen in New York this fall in a two-person exhibition at the Swiss Institute with Walter Pfeiffer, and Unmonumental on view through January 2008 at the New Museum. Tom Burr: Addict-Love is presented through SculptureCenter's Artist-in-Residence program and is funded in part by contributions from Jan and Warren Adelson, The Kraus Family Foundation, The Milton and Sally Avery Arts Foundation, and The MICA Foundation/Barbara and Howard Morse. Image: Tom Burr Addict-Love. Installation View, SculptureCenter, NY Image © 2008 SculptureCenter and the artist. Photo: Jason Mandella SculptureCenter 44-19 Purves Street Long Island City New York NY 11101 SculptureCenter Read on... SculptureCenter

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