I wanted to make a group of sculptures that would have a mass and weight that was real. Not the shell of a sculpture but instead something that was solid from the inside out. I began thinking about “sculpture in the round” in a very literal way and the forms became decidedly totemic.
Tree-hugging size, the proportions relate to myself, to other people, and to architecture.
I appreciate the engineering term “piling”: a group of wood, steel or concrete columns that support a larger structure. When taken out of its original context, the word calls to mind something much more tangential and internal.
Piling it on: piling on meaning, piling on paint, piling personality onto a material.
In the context of this exhibition, these pilings are self-contained supports for their own wooden bodies. Consolidated and encased, the sculptures reinforce something heady and human. It’s in this space where things reshape and shape up.
A painted forest of objects where colors animate and rest against one another, melon-balled pools submerge, vertical stacks glow, segments stand trim, and the muscular flex of material resonates. Head-size holes and arm-width seams clear things out. There is a weird potential or momentum in being able to reach your arm through an otherwise solid object.
Giovedì 25 settembre 2014 alle ore 18.30 lo Studio Guenzani inaugurerà una nuova mostra personale dell’artista americana Louise Lawler intitolata No Drones.
Con No Drones, l’artista continua la sua complessa indagine sulle funzioni che l’opera d’arte assume nei contesti in cui viene presentata.
Il forte rigore della composizione e l’equilibrio delle forme, caratterisco delle sue fotografie, emergono ancora più chiaramente in questi ultimi lavori dove la struttura diventa protagonista dell’immagine.
Private del colore e ingrandite di formato in modo da adattarsi allo spazio, le nuove immagini che Louise Lawler ci presenta sono una dimostrazione di quanto possano ancora essere aperte e innovative le modalità di indagine dell’immagine contemporanea.
Le due sale principali della galleria ospitano delle immagini in bianco e nero stampate su vinile e incollate direttamente sulle pareti dello spazio espositivo. I traced works non sono altro che gli outline delle immagini più celebri dell’artista: opere d’arte fotografate nei musei, nelle collezioni private, nelle case d’asta e nei depositi. Per produrre questi lavori Louise Lawler ha lavorato in collaborazione con l’autore di libri per bambini, illustratore e artista Jon Buller con il quale sono state reintepretate molte delle fotografie più famose dell’artista americana.
In mostra saranno presenti anche alcune opere uniche colorate a mano da Louise Lawler.
ShanghART Beijing is pleased to present Wang Youshen’s solo exhibition ‘Per Square Meter’ on 13th September, 2014. This is the first solo exhibition with Wang Youshen in ShanghART Beijing space, and also the first solo exhibition in Beijing after a lapse of 20 years.
‘Per Square Meter’ is an exhibition about an ‘event’: Artist twice experienced the process of constructing to dismantling of his studio from 2007 to 2011.
Two Studios in five years, from sign a contract, start construction to demolition, from blossom to fade. Time and space are compressed, everything running in a absurd way. A “Rashomon” story is completed, which recorded a “uncontrolled” daily behavior.
‘Per Square Meter’ describes an extension of a physical unit of space related to a social event or an art event. The whole process is consisted of installation, picture, sound, documentary and paperwork, the multiple visual relationship paves an interesting path to the explanation.
The recent five years after 2010, Wang started the project ‘Per Square Meter’, in the process of deconstruction and reorganization, he tries to complete a unrealistic reconstruction. A “uncontrolled” daily behavior and social event switched into a “controllable” art production and artistic event, everything seems never happened, everything from realistic physical world changed into a illusive mental world.
Our individuals are like plural ‘per square meter’, keep the constant melting and reconstructing.
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