Johann König, Berlin is pleased to present “sunrise”, American artist Justin Matherly’s second solo exhibition at the gallery.
An oscillation of proximity exists in Matherly's prodigious cast sculptures and large-scale photo work. At the furthest distance of the landscape, we see the sunrise; it rises towards us while appearing to retreat as we move towards the horizon line. Such constant, paradoxical shifting is allegoric of the kinetic nature in Matherly’s work: meaning and source are molten, and each degrades as the final composition takes form through a decidedly flexible casting process. An array of soft materials, such as malleable Treegators (slow release watering bags for foliage), allow for an additional element of chance in reference to the specificity of the carved form crafted from industrial Styrofoam.
For the first time, Matherly presents what appears to be a documentary photograph of a sunrise at an excavation site of the temple-tomb, Nemrud Dagi, in southeastern Turkey. It is a pointed departure from his other two-dimensional works, which endure a process of heavy abstraction from their source material. Here a photograph is presented seemingly unedited, captured by the artist on site. Yet a small instance recalls that representation is never without manipulation – collaged little blue flowers punctuate the bottom left corner of this. This addition is swathed in connotative lineages: among these, it is a recurring symbol in German Romanticism and a provocative emblem for the unreachable.
“Sunrise” dominates the gallery. Divinities Zeus and Apollo are depicted with the Hellenic King Antiochus I, as Matherly continues his investigation of dexiosis reliefs – in other words, right-handed clasps. An action of political alignment, it is both loaded and impoverished of meaning by its overuse and ubiquity. The ambulatory supports which recur in Matherly's works are central to the work, propping up the rising facade and revealing the hollowness and holes that belie the sculptures weight. It is ridden with pathos; the walkers and crutches seem to be in a perpetual state of exertion. Backing away from this piece, the pictorial handshake, the extended readymade arms and legs that support sunrise gives the work a humanistic corporeality – in essence, it is a gesture.
A more literal deconstruction exists in a small-scale sculpture propped against the wall. Clinical equipment, concrete, and a rock collected from the Turkish site compose a work that is not self-supportive, but relies instead on the gallery wall. It is a conjurer of fragmented histories and sources also, which lean on each other for context and support in contingent networks of meanings, however flexible. Sources are generated, then self-generating; Objects cycle along a mythic, twisting human narrative; Meanings shift ad infinitum somewhere between the sacred and the hollow.
Justin Matherly (born 1972) lives and works in Brooklyn. His sculpture “Sunrise” was presented in the Unlimited sector of Art Basel (2013). His work has been extensively exhibited in New York, at Paula Cooper Gallery (2013), with the Public Art Fund in City Hall Park (Common Ground, 2012), Bureau (2011), or the Sculpture Center, (2010). Justin Matherly’s next exhibition will be in February 2015 at Vienna Secession.
Lo Studio d'Arte Cannaviello presenta la mostra personale SP/15 di Pierluigi Pusole.
Una mostra/installazione di opere recenti, nuova fase produttiva per un’importante protagonista dell’arte contemporanea europea, di cui è una delle espressioni più originali. Il suo linguaggio si è mosso tra concettualismo e pittura, alla ricerca di nuove forme capaci di spingere l’osservatore verso dimensioni sconosciute, misteriose. Forme che celebrano un “oltre” fuori del tempo e dello spazio per inseguire e fermare l’attimo, percezione dell’eterno.
I paesaggi sono caratterizzati da pochi tratti immersi in macchie di colori forti, resi lucidi da una patina trasparente che crea “allucinazioni visive”. L’osservatore si sente, quindi, trascinato nell’opera stessa, fino quasi a farne parte. Pusole definisce le sue immagini “antinaturali”, in quanto rappresentazione di una realtà che non viene da lui subita ma posseduta per essere ricreata. Quasi un “esperimento d’ingegneria genetica”.
Le opere presenti nella mostra sono acquerelli e acrilici, progettati come singole parti di un'unica grande opera, immaginati come finestre aperte su scenari rarefatti, ipnotici, in cui i soggetti “uomo” e “natura” si confrontano e si scontrano in un continuo processo di aggregazione e disgregazione che mira a sconfinare oltre il reale.
Pierluigi Pusole è nato nel 1963 a Torino, dove vive e lavora. Ha iniziato la sua carriera nel 1986 esponendo nelle più prestigiose Gallerie d’arte europee, nonché negli spazi pubblici della Biennale di Venezia, della Galleria Civica d’Arte Moderna di Bologna, del Castello di Rivoli, della Dumont Kunsthalle di Colonia, del Palazzo delle Esposizioni di Roma ed infine della Galleria d’Arte Moderna e Contemporanea di San Marino che gli ha dedicato una personale.
Ha esposto per la prima volta in questa Galleria nel 1994 con la mostra personale Super – Mondo.
Unlived by What is Seen is an exhibition curated by the artists Sun Yuan and Peng Yu and independent curator Cui Cancan. Preparation of the project began in 2013, and after a year of in-depth communication and exploration, twenty-nine artists were selected, along with two art organizations and three artist groups.
Opening on December 13th, the exhibition will take place simultaneously at Galleria Continua, Pace Gallery Beijing and Tang Contemporary Art Center and lasts for three months. In addition, there will be four public talks presented after the opening, with an exhibition catalogue scheduled for publication in May 2015.
Unlived by What is Seen traces a new direction in Chinese contemporary art emerging since 2008. This new current is characterized by the infiltration of art practices into various social sectors and aspects of life. The goal of these practices is no longer geared toward the production of images or visual objects, but rather developing modes of existence that interrogate life itself. Arising from specific needs of the individual, it transgresses and transcends both the anxiety to enter history and the ennui of daily encounters. These unnameable needs cut into the social fiber without mediation and manifest attitudes of disengagement from which a poetics of life shines forth. In other words, the present exhibition is not interested in dealing with ossified modes of making art, but a multitude of actions taken by individuals.
As contemporary art becomes more institutionalized, Unlived by What is Seen examines what happens to art as it transforms into experiential and discursive transactions. It also questions modes of art production that cater to established, effective but effete systems of circulation. Though distancing itself from exhibitions purely driven by commercial interests, it nevertheless appropriates systems of capital in a way that fuels the movement it seeks to articulate. One significant feature is that none of the artists made their work to be housed inside the exhibition space. The most vibrant and tenacious part of the work has already been consumed by its own flame. As artists address their needs and confusion through action, what remains to be seen is evidence or crystallization of these activities that have taken place elsewhere, in another time, and under a different intensity. Consequently, the work of the curators is centered on the excavation, identification and presentation of these life practices that transpire within a dynamic social, political and interpersonal context as they push art to expand its borders. In short, they are anomalies of life whose adventurous labors will win their freedom.
Based on the unique status of these works, the curator designed a unique form of communication in which the artists were asked to narrate or recount actions, experiences and encounters that can not or need not be documented or visually represented. This also involves a process of experimentation on the part of the curators, the artists and the art organizations. It neither follows conventional standards nor seeks to draft a rubric for the future. By returning art to the actions and happenings of life, the works resist clear classifications and generalizations, yet they convene on one point: as long as viewers take what is in front of them for the whole, something gets unlived by what is seen.
There will always be an attitude that does not translate into form, but through our being in the act, it incessantly flashes before us. As art exhausts itself in the constant pursuit of the new, subtle transformations are already underway in the sphere of life.
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