New Image Art is presenting a full-gallery solo exhibition by Land with guest curation by Amber Abramson, of Busy-Being. This show presented in the main gallery along with sculpture in the project room includes antediluvian wall works and installation that harks back to lost civilizations.
Works are frontal and graphic and modestly 3D. In their primitive pursuit of iconography, works exist on found canvas and discarded materials, color is muted while familiar symbols take us on an archeological journey. The artists strive to confront the relationship between nature and time, while searching for man’s place among the rocks.
Purposeful constructions constitute a huge resource for investigating the past. It logically comprises much else as well: the dwellings of common people, rural terraces and field systems, sacred caves, burial places, and landmarks of all sorts. Movable, impermanent or perishable structures, such as scaffolds, arbors, banners, and litters that have left no material traces but can be inferred from iconography and epigraphy, are also included.
The excitement in this enterprise is discovering useful patterns; the danger is that we can create them to suit our own intellectual needs, as in the sum total of all purposeful human modifications of the landscape. Hence, the search for man’s place among the rocks and the title “Swamp of Time.”
SWAMP OF TIME // LAND Exhibition Dates: June 11 – July 13, 2016 Opening Reception: June 11, 2016 from 7 – 10pm
Join South London Gallery this Saturday 11 June as participants from the local area present a work by artist Amalia Pica in Peckham Square. In Asamble (2015) visitors are invited to watch the performers, who have brought chairs, congregate in a choreographed, circular assembly that never closes. The performance is part of Under the Same Sun: Art from Latin America Today, the second exhibition of the Guggenheim UBS MAP Global Art Initiative which opens this Friday 10 June.
Amalia Pica’s A ∩ B ∩ C will also be activated in the main gallery every Saturday at 1pm, throughout the course of the show.
What does it take for an object, or a human, to maintain its normal state? What does it take to change it? These interconnected questions are at the core of Johansson Projects’ upcoming exhibitions “Maintenance” and “Gradient.”
In “Maintenance,” Dan Grayber creates machines that are strangely human in a particular sense: their main objective is to keep themselves afloat. The delicate creations, housed in glass cases like peculiar specimens under scientific examination, held in stasis, their entire existence devoted to maintaining equilibrium. Through the sinewy apparatuses, Grayber alludes to the Sisyphean nature of human existence, as well as the contemporary obsession with “convenient” appliances that in reality create as many problems as they fix. And yet, despite the critiques embedded within them, the sculptures ultimately exist as extravagant answers to simple questions. If you have ever watched the sun rise, you know that light is not just a hue, nor a shade, and not even a tone. It is the natural agent that stimulates seeing, what makes things visible, allowing the world to be at once felt and understood. In “Gradient,” Craig Dorety explores our ever-shifting relationship to the properties of light, crafting pseudo-sunsets that mimic the gradient of day passing into night. Inspired by Johannes Itten’s writing, Josef Albers’ painting, and Isaac Newton’s research, Dorety’s sculptures are color-theory-in-action: exploring the ethereal properties of light, shadow, and time by providing them physicality and weight. The abstract works warp the viewer’s perspective as hues morph atop shapes within shapes, using electronics and animated light to mirror the shapeshifting illusions natural light provides every day.
MAINTENANCE + GRADIENT: Featuring: Dan Grayber + Craig Dorety Exhibition Dates: June 25 – August 27, 2016 Opening Reception: Saturday, June 25, 2016 from 3 – 5pm
In Swanson’s second solo show with Eleanor Harwood Gallery he continues to investigate manipulations of terrain and architecture. His work moves further into abstraction as he allows the pools and puddles of paint and dried cracked surfaces to create the movement and texture. After allowing his intuition and the freedom of gravity to take effect, he is controlling the paint, sanding it down, masking out areas of spillage to create atmospheres and implied landscapes.
Swanson uses a variety of painting techniques: pouring, masking, overlaying, thinning and thickening the paint and then sanding. The quality of the surface is refined and exposed under layers that have been revealed through sanding, resulting in an atmospheric surface with both physical texture and illusionary depth.
Shifting from the use of photographic sources to purely imagined landscapes, Swanson’s new paintings move nearer to a world of balance, growth, and controlled chaos. Lush soft blooms of flora shoot up under the rule of lines and hard-edge bands of color. Slices of natural orders of patterning: crystal, mineralogical, and geological directly mimic the strata found in the terrestrial. Employing the grid and a dense picture plane to build scenes both structured and spare using a lighter palette, these paintings present slowly shifting worlds with an ethereal and dreamlike quality.
William Swanson: Bloom Chamber Exhibition Dates: June 18 – July 30, 2016 Opening Reception: June 18, 2016 from 4 – 7pm
For a long time, I’ve been curious about applying the methodology of art as one way–which I think is equal to science and other powerful explanatory concepts–for us to understand what is surrounding us and what we are. — Carsten Höller
Trained as a scientist, Carsten Höller both echoes and surpasses scientific procedures in his work as an artist. Many of his projects invite viewer participation in order to question the facts and forms of human life. From carousels that reflect and disorient, to winding slippery slides, to vision-flipping goggles, Höller actively interrogates the functions of logic, perception, and entertainment in the larger biosphere.
“Zoology” is a selection of Höller’s recent sculptures, photographs, and prints, made between 2008 and 2016, which consider how different forms of animal life might relate to human embodied awareness. Through taxidermy, casting, molding, and collage, Höller presents beings that cannot be easily categorized: they are animals, but they do not occur in nature; they are the products of anthropocentric will–of mutation, breeding, and grafting. And just as the scientist turns captive birds into hybrids, Höller turns snakes into soft, squeezable curves of neon-pink artificiality.
In their color and form, the animals become implacable rarities–in Divisions (Roach and Surface) (2016), minimalist-industrial materials and a modulated orange grid form a suspension chamber for a small, shiny fish; while in the series of photogravures Canaries (2009), birds perch with feathers growing at wild, intersecting angles. “Zoology” thus adds another layer to Höller’s phenomenological queries: instead of entering at will a carousel, a gigantic die, or a slide, we encounter rubbery creatures and experience the childlike urge to prod and pull, although the objects–being art–are strictly out of bounds. It is this tactile wit that brings the sculptures into a surreal or hyperreal realm, between human and animal, between nature and art, taking us along with them.
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J’ai voulu depuis longtemps appliquer la méthodologie de l’art comme étant un moyen qui, je pense, est l’équivalent de la science et d’autres concepts explicatifs puissants, pour nous faire comprendre ce qui nous entoure et ce que nous sommes. — Carsten Höller
De formation scientifique, Carsten Höller fait écho, dans son travail d’artiste, aux procédures scientifiques tout en les dépassant. Nombreux sont ses projets qui sollicitent la participation du spectateur pour questionner la réalité et les formes de la vie humaine. Des carrousels qui scintillent et désorientent aux lunettes à verres protubérants en passant par des toboggans rotatoires, Höller s’interroge constamment sur les fonctions de la logique, de la perception et du divertissement dans l’immense biosphère.
«Zoology» est une sélection de sculptures, de photographies et de gravures récentes que Carsten Höller a réalisées entre 2008 et 2016; ces œuvres examinent comment les différentes formes de la vie animale peuvent se rapprocher de la conscience exprimée par l’être humain. Au travers de la taxidermie, du coulage, du moulage et du collage, Höller montre des êtres qui ne sont pas faciles à cataloguer: ce sont bien des animaux, mais on ne les trouve pas dans la nature. Ils sont le produit d’une volonté anthropocentrique de mutation, de reproduction et de greffe. Tout comme les scientifiques transforment les oiseaux captifs en êtres hybrides, Höller métamorphose les serpents en des courbes douces et tordues d’un rose artificiel tel que celui des néons.
De par leurs couleurs et leurs formes, les animaux deviennent des raretés implacables comme dans Divisions (Roach and Surface) (2016) constituées de matériaux industriels minimalistes et d’un cadre orange qui forment une chambre de suspension pour un petit poisson brillant; dans Canaries (2009), une série de photogravures, des oiseaux perchés portent des plumes poussant sauvagement à des angles intersectés. «Zoology» ajoute une autre couche aux questions phénoménologiques que se pose l’artiste: au lieu d’entrer comme on l’aimerait dans un carrousel, un immense dé ou un toboggan, on tombe sur des créatures caoutchouteuses et on ressent une envie enfantine pressante de pousser et de tirer, alors que les objets, étant de l’art, sont strictement interdits d’accès. C’est cette approche tactile qui emmène les sculptures dans un royaume surréaliste ou hyperréaliste, oscillant entre l’humain et l’animal, entre la nature et l’art, et qui nous emporte dans son sillage.
CARSTEN HÖLLER: ZOOLOGY Exhibition Dates: June 9 – August 12, 2016 Opening Reception: Thursday, June 9, 6 – 8pm