ÍVAR VALGARDSSON – POWER LINES

Posted on 2012-04-16

In Power Lines Valgardsson continues his investigation into the materiality of art and his interrogation of ready-made materials. Here the artist presents his viewers with a medium that is familiar to nearly everyone, but at a different scale: generally we see these cables at a distance as part of the landscape, not up close as we see them here. Throughout his career, Valgardsson has used other custom-made DIY materials to produce works of a transient nature. In particular, he has explored the conceptual properties of paint as part of his research into the relationship between nature and the man-made environment, for instance, likening a stream of paint to a stream of water. Thus the power cables are part of Valgardsson ongoing interest in currents, both in the physical and the metaphysical sense.

Valgardsson scrutinises the aesthetics of the quotidian and as he has pointed out, power lines are an ordinary part of our environment: “They are just there.” Unlike the simple building materials and paint he has chosen for previous works, the power line is a phenomenon that is much more loaded, criticised itself as a blot on the landscape and as a symbol of a contested infrastructure. In this exhibition, Valgardsson strips the cables of their specialized function and uses them to create a three-dimensional drawing within the space of the white cube, thereby placing this industrial material into an aesthetic context.

Exhibition runs through to May 5th, 2012

i8 Gallery
Tryggvagata 16
Reykjavik
Iceland

www.i8.is

  

MICHAEL DEAN – GOVERNMENT

Posted on 2012-04-16

Michael Dean’s sculptures are either the perfect size to be carried or quote their surrounding architecture where they are then to be found lurking, propped against gallery walls. Made from cast concrete, the surfaces are veined and ridged, offering invitations to be touched. Tactility is an essential sculptural quality for Dean – he wishes us to first ‘touch with the eyes, and then allow ourselves to touch with the hand’.

Government quotes from and transforms the Institute’s galleries. The concrete floor has been covered with a thick, wool, wall-to-wall carpet, becoming something to touch, with the new surface changing the visual and sonic experience of the spaces. Instead of standing, the Institute’s Information Assistants sit on the floor. The door handles at the entrance to the galleries have been recast as four forearm-sized sculptures, titled ‘Yes (working title)’ and ‘No (working title)’. These flat, grey, concrete bodies leave themselves no choice but to touched, their patina changing as the raw, unsealed surfaces pick up the traces of each person’s hand.

Exhibition runs through to June 17th, 2012

Henry Moore Institute
74 The Headrow
Leeds
LS1 3AH

www.henry-moore.org

  

TRISHA BAGA – ROCK

Posted on 2012-04-09

Named after the historical Pilgrim landing site in Massachusetts, the video installation Plymouth Rock sees Baga attempting to sympathise with it as a body that has been broken up. She considers how this degradation has happened both physically, as it has traveled, but also in terms of its subjection to layers of human meaning over time. The work consists of a video projected on to a collection of paintings and objects in close proximity to one another. Conveyed through various mediums, the piece will also feature other antagonists such as voice, the sea, lines and colours. Like the act of looking, the video becomes potential body, or carrier, for these disparate elements and forces.Here Baga looks at how the 3D projection on top of the objects works to negate their real objecthood whilst the representation of the cardboard box above them only appears more monumental.

Exhibition runs through to May 20th, 2012

Vilma Gold
Minerva Street
E2 9EH
London

www.vilmagold.com

  

FARRAH KARAPETIAN – REPRESENTATION3

Posted on 2012-04-09

The images Karapetian mines reflect moments in our lived history at which overwhelming circumstances place the human character at the heart of a tragi-comic narrative. In the elaborate staging and exhibition of these prints, the artist returns to the position of the photograph as an a-factual object: color, markmaking, and time spent are revealed as the products of both choice and chance here, and the print itself is what one sees first, rather than its subject. The time it takes to expose each print – sometimes doubly or triply – is registered in the image, pushing the work into the conceptual place occupied by motion pictures.

Representation implies and includes abstraction: Karapetian’s work, though largely figurative, includes hints as to the codes of its own making and to the ideological codes of the mass-media as well. The pictures reveal iconic representational tendencies in contemporary photography and graphic design, which are employed to describe events with extra-experiential drama and clarity. By working with hyperanalogue processes and at the scale of everyday life, the artist shows us that re-representation offers the possibility of deeper, slower experience of potent moments in our lived history than is afforded by the fleeting jpeg disseminated online.

Opposite – Riot Police, 2011

Exhibition runs through to May 26th, 2012

Roberts & Tilton
5801 Washington Boulevard
Culver City
Los Angeles
CA
90232

www.robertsandtilton.com

  

TAKASHI ISHIDA

Posted on 2012-04-09

This work documents a painting being created on the wall and floor of a room. The documented painting, however, is just one out of many that could have been produced. In this sense, the aggregate of everything that was not documented could just as well be the work. Indeed every time I released the shutter, I felt as though I was simultaneously photographing another line in addition to the one I had just drawn and captured. Perhaps because I was shooting the room from multiple angles, slightly different rooms seemed to branch off into many more different spaces. When continually considering how one might go outside the room, I remembered what Wittgenstein said about the man who is imprisoned in a room because he does not notice the unlocked door behind him.

The exhibition will feature new 16mm film works and a stop motion animation video, which was produced by shooting a white wall built in the artist’s studio for the work and painted continuously, over several months. Ishida explains that he thought of Wittgenstein, Zen, and Yosa Buson’s haiku, which begins with an absent bridge, while producing the new works.

Exhibition runs through to April 28th, 2012

Taka Ishii Gallery
1-3-2-5F Kiyosumi
Koto-ku
Tokyo 135-0024

www.takaishiigallery.com

  

DAVID LYLE – MISBEHAVING

Posted on 2012-04-02

Lyle’s painstakingly reductive painting process is a very crucial element to the evolution of his final images. Each piece is rendered using only black paint and turpentine. Lyle begins his process by priming a panel with white gesso. He then paints a thin, rich, oily black veneer over the primed panel, slowly and systematically developing his images by removing some of the black paint with a cloth. In doing so, Lyle renders layer upon layer of various values of black paint resulting in his signature-style of luminescent works.

In Misbehaving, we see how Lyle’s methodology combined with his acerbic wit creates an altered reality rife with cynicism and bursting with mischief.Lyle is impeccably faithful to the vintage photographs that inspire his work – until a point in which he instills a cultural reference so familiar, yet iconoclastic, as to leave the viewer wincing, laughing, or really thinking, often it is all three.

Opposite – The Honey Hole, 2012

Exhibition runs through to April 28th, 2012

Lyons Wier Gallery
542 West 24th Street
New York
NY 10011

www.lyonswiergallery.com