Held once a year, the INVENTORY # project becomes the file under which
WILDE Gallery mounts investigative displays of its gallery artists. Each
INVENTORY show sets out to explore the relationships created within its
own community of artists and the dialogue between their works.
For the second installment of INVENTORY #, Wilde Gallery will introduce
a guest artist among it's community of gallery artists. This year we present
the work of Spanish painter Antonio Santín..
Kenno Apatrida, originally from South America, has been exiled in Berlin
for the past two decades and has been part of the city's radical creative
transformation. His works, which go against the tide of aloof post modernity,
are phantasmagorical, spiritual and transcendental, humorous and at times
painfully genuine. Apatrida's practice refers to philosophical precursors
ranging from shamanistic rituals to the nightmares of William Blake and
Henry Füseli, William Burroughs, political junk from the former GDR
and Zen Buddhism. Collected from various squats and abandoned flats in
Berlin, the "cultural detritus" Apatrida incorporates in his
work are re-inscribed and re-positioned, undergoing an alchemical process
with the results returned to us as icons of a spirituality specific to
our modern age.
Canadian artist Brown's pictures are literally survivors of their own
making. The artist negotiates between formalism and abstraction where
everything is exchangeable in the processes of excavating the final picture
from layers upon layers of reference. Deceptive in their expressionist
qualities, Brown's compositions are actually the laborious result of conscientious
investigations of color and form, that the artist may take up to a year
to complete. A monograph of his work was recently published by MOCCA in
Toronto, recording his retrospective show The Visceral Thing. The book
will be available from the gallery from August 23rd.
Berlin based Lebanese artist BAAL's work is concerned with the act of
remembrance and investigates the relationships of displacement through
the painterly medium. His pictures depict accumulations of debris in various
compositions that re-enacts the idea of loss, subordination and power
relationships. Personal belongings, piles of luggage, heaps of clothes
emerge from BAAL's pictures as an embodiment of the anonymous refugee.
A refugee that has lost everything, but where memory can offer not only
salvation but also deliverance.
EVOL's artistic interests have focused on the overlooked and the refuse
of urban society. Working with labour-intensive stencils, his imagery
is traced onto salvaged wood or bits of cardboard, offering visual comments
and thoughts that remind us of the failure of modernism and its visions
of an architectural utopia. EVOL's work will appear at OSTRALE'09 taking
place in Dresden from mid-August.
Russian born Berlin based artist Kostroma has set out Five conceptual
limitations that he abides by. Feathers, Egg Shells, Yellow Pigments,
Hair and Figures. These seemingly arbitrary selections create a universe
of its own and have offered the artist a platform onto which he has applied
theories of material cognition, spectral refraction of light and ideas
of chaos theory. The works manifest themselves as ensembles of interlocking
and interdependent sources to the universal forces of creativity. Alexei
Kostroma is included in the Moscow Biennale'09 taking place at The Garage
Center for Contemporary Culture from September 25th.
Canadian artist Noestheden's representations of starry skies, supernovas
and meteors draw from quantum physics, the background noise of the universe
and the unspoken spirituality of things. His choices of material are literally
glittering from thousands of silver crystals suggesting a conceptual approach
to the organisation of matter into poetry.
Basque born Okaranza's approach to photography is entirely abstract and
open ended. His pictures are always taken at night and although they suggest
representational figuration, unavoidable through a camera lens and its
mechanical recording of the image, the subjects portrayed are always considered
for their formalism alone. Light sources become dots, shadows become lines
and so on. Okaranza does not offer any pictorial narrative although the
images may suggest so and if depicted so, it is entirely coincidental.
Berlin based PISA73's artistic approach is sometimes blatantly derisive
and his pictures are harsh but also radiate a sense of unintentional beauty.
The artists' use of instant recognition becomes visible with iconic brands
and repositioned advertisements that are processed to form new meaning.
PISA73's works are a testament to a time of bloated romantic eclecticism,
asking not what beauty is, but what beauty does - in the service of turbo
capitalism, corporate manipulation, misuse of power and state control.
Saffer's personal art practice varies from paper-cut outs to folded works
from Objects and Mobiles to large installations. He recently worked on
the idea to introduce Berthold Brecht's "Verfremdunsgeffekt",
freely translated: (alienation effect) to fine arts. The artist continuously
tries to explore the possibilities of Improvisation in Art as a parallel
experiment to Music and its use of it.
Spanish born Antonio Santín is the guest artist of INVENTORY#2
for 2009. Although the artists' painterly approach is traditional, his
subjects are photo based and at times evoke a digital camera rendering,
which brings to his pictures a proof of the struggles with contemporary
subjectivity and the challenges of defining meaning where there might
only be superficiality. Santín's paintings are sculptural, which
is evident in the ways that the brushstrokes take on a three dimensional
treatment, reducing the paint to graduated matter that is carved away
to excavate the inner being of the subject.
Performance artist Madeline Stillwell chooses her materials with an inherent
disregard for comfort. The objects she uses to construct her stage, such
as industrial duct-tape, shards of splintered wood, wire fences and rusted
metal, are all collected on-site and become the artist's ironic playground,
signifying quite literally the detritus of modern society and, metaphorically,
the neglected recesses of the psyche. Her performances recall the legacy
and concerns of early feminist performance work, specifically the pathos
of self-inflicted pain in the public arena, the symbolism of ritualistic
gesture and the connotations of the conscious performance.
Originally a composer, Stecky is carrying over his interests in the act
of hearing to the act of seeing. His work in video and painting is concerned
with the indexical mark and by pushing its' limits he investigates the
boundaries of representation and authenticity and tries to find the point
where it all collapses. Recent work is an interactive "art-therapy"
website, which is a self-organising structure onto which viewers can compose
their own treatments.
New York based Zsako has created a pictorial world inhabited by a myriad
of figures that display the cyclical nature of being. A profound understanding
of pattern and symbolism helps the artist to explore his subjects, either
when they are enacted as monsters or fairies occupied in spiritual merging
or by copulating in impossible positions to give birth to trees, birds
or fantastical machinery that, in his world, may unveil the mysteries
of creation and our place in the universe.
A great artistic concern of Toronto based artist Zits, is the idea of
appearance and vulnerability in the spaces between the private and public.
Working in video and multi-media as well as painting, his recent imagery
recalls the uneasiness in which we deal with nudity. The artist draws
his pictorial commentaries from the cultural and legal restrictions that
are applied to exclude us from exploring ourselves as private beings in
the public domain.