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Anat Ebgi is pleased to announce Amie Dicke&rsquo\;s first solo exhibition for the gallery entitled \;Collecting Alibis. \;An opening reception will be held on \;Saturday\, November 16 from 6-8PM\, and will be on view until  \;January 4\, 2014. \;For this exhibition\, Dicke brings together three bodies of work representing the artist&rsquo\;s ongoing critique of t he subtext of images that surround and influence us.
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Born and raised in Rotterdam\, Dicke&rsquo\;s interest in this interaction can be traced back to her youth. As a girl she plastered her walls with ima ges ripped from fashion magazines. Living in this space\, engendered in her a desire to understand how these images could elicit an emotional response . Later in life\, she would tackle this artistically by tearing through the se images with an X-Acto knife and defacing them to create a void. She did this\, in her words\, in an attempt to &lsquo\;look for less&rsquo\; and to search for substance beneath these pictures.
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The exh ibition includes several examples of this area of Dicke&rsquo\;s practice. The images\, large scale photo-portraits scratched out with sandpaper\, lea ve small details untarnished and highlighted -- a fold in the shoulder of a shirt\, or a crisp white button. Effectively\, Dicke has made her subjects anonymous\, but in doing so she is able to give them a new purpose. Her te chnique causes the viewer to investigate the absence of these visages and f orces us to wonder about what Dicke&rsquo\;s left behind. By removing the f acial features of these photos\, she has created a vacuum for us. It is one into which she wants the viewer to pour their own anxieties and questions\ ; she has carved a space for us to fill\, even complete for a moment\, with personal memories and fantasies.
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This atmosphere of unease and dread is something that Dicke attributes to bombardment of visua l stimulus that we experience daily. Her choice of subject matter\, just li ke her choice to live surrounded by magazine images as a girl\, derides the idea that we are not complicit in the construction of this environment. Af ter her graduation from the Willem de Kooning Academy\, the artist spent ti me in New York. There this feeling of &lsquo\;isolation despite being surro unded&rsquo\; was compounded to the extent that she felt compelled to expre ss this in her work.
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The gallery is excited to presen t two major panels from this part of Dicke&rsquo\;s oeuvre. The pieces\, ti tled \;IIand \;III\, have recently been exhibited at the GEM Museum of Contemporary Art in The Hague. They are monolithic pl exiglass plates coated in red\, blue\, and black Bic ink. Dicke has blown t he ink thickly onto them to create an illusion similar to oil slick or thic k poster paint. With these works\, Dicke&rsquo\;s desire to deconstruct our expectations of two-dimensional spaces explodes into the sculptural domain . The objects evoke billboards and advertising displays but their opaquenes s renders the object\, once again\, illegible. Instead\, the viewer picks o ut the few shades of color permeating through the dark textural panels.
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At the center of the gallery\, sits a reconstruction of Dicke&rsquo\;s \;Battle of Magenta. The piece was also first d isplayed in the GEM Museum and consists of a vast pool filled with floating prints and which represents an extension of the artist&rsquo\;s interest i n these themes. Once again\, she has taken a flat still space\, an undistur bed body of water\, and approached it with a frenetic and almost chaotic en ergy. What is left is an immensely sculptural and vibrant. The ink from the prints slowly releases\, blending and mixing with the water. Magenta is th e first tone to be released as the images decompose in this swirling morass of color. The title harks back to a battle that was fought near the villag e of Magenta\, Italy. There\, Napoleon III fought the second Italian war of Independence and in that same year the purple dye pigment was discovered a nd thus named after the battle\, Magenta. The sources for the images range from current magazines\, newspapers from 100 years ago\, National Geographi c\, second hand books\, postcards etc. (All from Dicke&rsquo\;s personal ar chive.) She explains how they came to be part of this work:
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&ldquo\;Some of the prints I have had for many years. They hung at m y studio wall or are a part of this many big piles of images. I have them a ll in my mind\, but also forgot about them. I find that forgetting part ver y important. It is about the survival of images. Once I see the image back I know I had seen it before. I am testing these images I have seen\, I carr y in my mind. They form my image bed.&rdquo\;
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The end result is a piece where a lifetime of half forgotten images comes together \, totally divorced from their original context\, to remind us of historica l event and present us with an original visual landscape. This helps reaffi rm the idea\, broadcast throughout these three bodies of work\, that the tr uly fascinating part of our visual culture lies below its surface.\n
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Collecting Alibis \;is Dicke&rsquo\;s third solo exhibition in Los Angeles. Previous exhibitions include\, \;Infini tely Suffering Thing\, 2008 and \;Sensual Sadness\, 2003\ , both at Peres Projects.
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Amie Dicke (b. 1978\, lives and works in Amsterdam). Recent solo exhibitions include: GEM Museum of Co ntemporary Art\, The Hague\, NL\; Castrum Peregrini\, Amsterdam\, NL\; and Hiromi Yoshii Gallery\, Tokyo\, JP. Recent group shows include\; \; The Tolerent Home\, Amsterdam\,NL\; \;BSSM\, The Company\ , Los Angeles\; \;Half Sugar\, Half Sand\, and \;The D utch Identity? The Power of Now \;both at Museum de Paviljoens\, A lmere\, NL\; \;Saccharine-D12 \;Serie\, Grimmuseum\, Berli n\, DE\; \;Opening Exhibition\, Museum of Old and New Art\, Ho bart Tasmania\, Australia\, and Murakami Takashi Kaikai Kiki Collection -We stern Europe Art Exhibition\, curated by Takashi Murakami\, Kaikai Kiki gal lery in Taipei\, Taiwan.  \;Her solo show \;Collecting Alibis \;at Stigter Van Doesburg\, Amsterdam\, NL is on view untilNovember 23\, 2013.
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Dicke&rsquo\;s work has been exhibited in ternationally in venues such as Schirn Kunsthalle in Frankfurt\, Germany\, Tate Modern and Project Space 176 in London\, FLAG Art Foundation\, New Yor k\, and Art Centre Silkeborg Bad in Denmark. Her work is included in severa l major collections including Gemeentemuseum The Hague\, Collection Rob Def ares\, Direct Art Collection\, the Zabludowicz Collection\, Collection Rik Reinking\, Takashi Murakami and the City Collection of Rotterdam through th e Museum Boijmans van Beuningen.
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AS OF THE 22 ND of DECEMBER\, THE GALLERY WILL BE OPEN BY APPOINTMENT ONLY FOR THE HOLID AY PERIOD.
DTEND:20140104 DTSTAMP:20141227T051259 DTSTART:20131116 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Collecting Alibis\, Amie Dicke UID:302800 END:VEVENT BEGIN:VEVENT DTEND:20131116T200000 DTSTAMP:20141227T051259 DTSTART:20131116T180000 GEO:34.0334166;-118.3758153 LOCATION:Anat Ebgi\,2660 La Cienega Boulevard \nLos Angeles\, CA 90034 SEQUENCE:0 SUMMARY:Collecting Alibis\, Amie Dicke UID:306751 END:VEVENT END:VCALENDAR