ArtSlant - Current exhibits en-us 40 Jeppe Hein - 303 Gallery - April 16th - May 30th <p style="text-align: justify;">303 Gallery is pleased to present "All We Need Is Inside," our third exhibition of new work from Jeppe Hein.<br />&nbsp;<br />On this occasion, Hein presents a collection of works in disparate media, encouraging viewers to enter into their own inner dialogues. Focusing his attention on the awareness of one's own body and mind, Hein creates an experiential narrative in which the viewer becomes gracefully cognizant of his own being through the traversal of the exhibition space and its signifying works.<br />&nbsp;<br />Upon entering the space, a glowing neon mirror announces&nbsp;<em>ALL WE NEED IS INSIDE</em>, imposing a prism through which the viewer processes the surrounding space. Turning away from this work is an encounter with a series of&nbsp;<em>Breathing Watercolors</em>, in which Hein's own breath guides the application of blue stripes painted directly onto the white wall.&nbsp; The intensity of color, deep and vigorous at the beginning of each stroke, gradually fades into a pale shade toward the bottom of each stripe, physically recording the process of air gradually escaping from the body. Echoing this work is&nbsp;<em>Breath</em>, in which Hein's own breath is encased in glass spheres lying on the floor.<br />&nbsp;<br />In the center of the gallery,&nbsp;<em>Sine Curve I</em>&nbsp;implicates the viewer's perception in the creation of the work. Its multifaceted reflection produces an alien experience of the gallery space, disorienting the subject of its reflection and forcing a new type of environmental consciousness. Its sculptural shape is reminiscent of the sinus rhythm, a diagrammatic recording of the normal beating of a heart. In another mirror work,&nbsp;<em>Invisible Eye,</em>&nbsp;Hein has placed a flickering candle behind a two-way mirror. This elemental object of ritual is subverted by Hein's intervention, as candle and viewer merge into one another, resulting in the placement of a flaming third eye onto the viewer's forehead. This suggestion of enlightenment, both physical and spiritual, looks toward an enigmatic and foreign sense of being, implicating the viewer not only in an encounter with an artwork, but in a confrontation with an obscure and unknown self.<br />&nbsp;<br />In November of this year, he will open a solo show at Kunstmuseum, Wolfsburg, Germany. Recent exhibitions include &ldquo;A Smile For You&rdquo; (2013) at Bonniers Konsthall, Stockholm and Wan&aring;s Konst, Sweden; &ldquo;Robert-Jacobsen-Preistr&auml;ger&rdquo; (2012) Museum W&uuml;rth, Bad Mergentheim, Germany; &ldquo;360?&rdquo; (2011) at the 21st Century Museum of Contemporary Art, Kanazawa, Japan; &ldquo;1xMuseum, 10xRooms, 11xWorks&rdquo; (2010) at Neues Museum N&uuml;rnberg; Distance (2010) at IMA - Indianapolis Museum of Art, Indianapolis; &ldquo;Sense City&rdquo; (2009) at AroS Museum of Art, &Aring;rhus, Denmark. Permanent installations of his works were realized in 2014 at Musikkens Hus, Aalborg, Denmark and the New Media Library H&ouml;gskolan Dalarna, Falun, Sweden. His works are held in institutional collections such as the Tate Gallery, London; Centre Pompidou, Paris; Museum f&uuml;r Moderne Kunst, Frankfurt/Main; Museum of Contemporary Art, Los Angeles. Hein lives and works in Berlin.</p> <p>&nbsp;</p> Sat, 04 Apr 2015 09:58:19 +0000 Jef Geys - 3A Gallery - March 26th - July 24th <div style="text-align: justify;">3A Gallery is pleased to announce <em>Jef Geys: Some Paintings from Belgium</em>. On view are ten Martin Douven paintings from the collection of Felipe Perez.&nbsp; The exhibit includes ten prints, on loan from the Columbia University Rare Book and Manuscript Library, depicting the various international contexts of this set of paintings&rsquo; exhibition history.&nbsp; Jef Geys has produced a <em>Kempens Informatieboek</em> for the occasion.</div> <p style="text-align: justify;">&nbsp;<br /> &nbsp;</p> <div style="text-align: justify;"><em>Jef Geys: Some Paintings from Belgium</em> was made possible by the generosity of the Related Group.</div> Sat, 07 Mar 2015 15:36:37 +0000 John Alexander Parks - 532 Gallery Thomas Jaeckel - March 26th - April 25th <p style="text-align: justify;">Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades.&nbsp; For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic.&nbsp; Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.</p> <p style="text-align: justify;">A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects.&nbsp; His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor. &nbsp;They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.</p> <p style="text-align: justify;">Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as &ldquo;&hellip;a true poet in paint and something of a find.&rdquo; In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks&rsquo; painting as &ldquo;&hellip;a treat to discover.&rdquo;</p> <p style="text-align: justify;">Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London.&nbsp; He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist.&nbsp; He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting.&nbsp; He recently authored a general introduction to the world of art entitled &ldquo;Universal Principles of Art,&rdquo; Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.</p> Wed, 25 Mar 2015 14:40:45 +0000 Group Show - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:17 +0000 Jacob El Hanani - Acquavella Galleries - April 15th - June 12th Fri, 23 Jan 2015 14:42:30 +0000 - AICON GALLERY - New York - March 17th - April 25th Fri, 20 Mar 2015 07:52:27 +0000 - AICON GALLERY - New York - March 17th - April 25th Fri, 20 Mar 2015 07:54:39 +0000 Stefan Kurten - Alexander and Bonin - April 18th - May 30th <p style="text-align: justify;">An exhibition of new paintings and works on paper by Stefan K&uuml;rten will open at Alexander and Bonin on April 18th. The exhibition features <em>Running to stand still </em>(2014), a large scale painting depicting a grid of houses which emerge from a golden, abstracted thicket and represent K&uuml;rten&rsquo;s typography of 20th Century homes.</p> <p style="text-align: justify;">Modernist overhang slab roof houses, brick villas in idyllic surroundings and suburban bungalows with neat garden paths and flower beds are the subject of K&uuml;rten&rsquo;s recent paintings. Almost all depict isolated buildings that are surrounded by a wall, hedge or lush vegetation and draw the viewer's attention to a singular piece of invented architecture. These structures often closely resemble iconic mid-century modern dwellings, but have been rebuilt by K&uuml;rten&rsquo;s conflation of imagery. Their sense of familiarity is strong and viewers often feel they have visited these non-existent homes. The surfaces of K&uuml;rten&rsquo;s paintings are composed of innumerable brushstrokes forming patterns that evoke sky, water and foliage. The density of the patterning can elicit a sense of horror, destabilizing these beautiful illusions.</p> <p style="text-align: justify;">&ldquo;Even though the houses and gardens that distinguish my paintings are drawn from real houses and gardens, taken from my own photos, books, and magazines, they are somehow transformed into the stuff of daydreams or nightmares. They are devoid of human presence; the apparent idyll feels isolated to the point of oppression. Nonetheless, there seems to be some sort of a presence, like a hidden secret, something untold and left to our imaginations. Heimlich describes this unsettling, disturbing uncertainty very fittingly.&rdquo;<span style="font-size: xx-small;">1</span></p> <p style="text-align: justify;"><span style="font-size: xx-small;">1</span> Interview with Larry Rinder published in <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>,Ostfildern: Hatje Cantz</p> <p style="text-align: justify;">The artist lives and works in D&uuml;sseldorf. His work has been the subject of several institutional exhibitions and two recent monographs: <em>Here Comes the Night. Works on Paper 2009 &ndash; 2013</em>, published by Hatje Cantz and <em>Running to stand still</em>, a monograph of recent paintings published by Galerie der Stadt Backnang. Stefan K&uuml;rten&rsquo;s paintings are in the permanent collections of several European and American institutions including Kunstmuseen Krefeld, The Montreal Museum of Fine Arts, The Museum of Modern Art, New York and the San Francisco Museum of Modern Art.</p> <p style="text-align: justify;">For press inquiries contact Olivia Gauthier at 212/367-7474 or</p> Sat, 04 Apr 2015 10:05:59 +0000 Joan Semme - Alexander Gray Associates - April 2nd - May 16th Thu, 05 Feb 2015 12:04:05 +0000 Shara Hughes - American Contemporary - March 26th - April 26th <p style="text-align: justify;">Shara Hughes&rsquo; new paintings present layers of abstracted, actual and pictorial space, all in search of simplicity.</p> <p style="text-align: justify;">These clouded windows of ambiguous form, pattern, and texture are like vibrated, vibrant drawings, plied with multiple mediums. The direct intention instilled in each mark empowers these paintings with a sense of focused purpose, directness, yet they depict suggestions of open space, floating moons, flowing rivers, melting snow. The indirect and the slow burning.</p> <p style="text-align: justify;">Hughes explores these ideas as she quickly grasps new ways of applying paint. Idea becomes form, form becomes an idea, image becomes both. The result is a mix of peace and purpose; material and place; raw canvas and painted surface. Transparency and brick wall.</p> <p style="text-align: justify;">In these works past and future disappear. There is only the present. Invention, intention, playfulness and trust. All happen then/now. Stop to go.</p> <p style="text-align: justify;">Shara Hughes (b. 1981 in Atlanta, GA) lives and works in Brooklyn, NY. Previous solo exhibitions include <strong>Museum of Contemporary Art, Georgia</strong>, Atlanta, GA; <strong>Atlanta Contemporary Art Center</strong>, Atlanta, GA; <strong>American Contemporary</strong>, New York, NY<strong>; P-r-i-m-e-t-i-m-e</strong>, Brooklyn, NY; <strong>Metroquadro</strong>, Turin, IT; <strong>Galerie Mikael Anderson</strong>, Copenhagen, DE; and <strong>Rivington Arms</strong>, New York, NY. Hughes was the recipient of the MoCA GA Working Artist Project Grant for 2012/2013.</p> <p style="text-align: justify;">She studied at Rhode Island School of Design, Providence, RI and Skowhegan School of Painting and Sculpture, Skowhegan, ME.</p> Fri, 20 Mar 2015 07:48:50 +0000 Group Show - American Folk Art Museum - March 26th - July 5th <p style="text-align: justify;">Most self-taught artists can be perceived as performance artists. Their work is infused with daily rituals, public actions, gestures, and enactments, defining a lifelong artistic practice for which <em>the curtain never comes down</em>. Beyond paintings and sculpture, the exhibition includes ceremonial clothes, kinetic apparatuses, ephemeral installations, writings, fragments of ever-changing constructions, music, recordings, and other statements that have been captured by photographers and filmmakers. The inventive devices and countless strategies these artists configure are expressions of an alter ego, which they assume for its power to transform the world and, above all, to transform their own connections to reality.</p> <p style="text-align: justify;">Historically, collectors and museums have prioritized artworks that are readily collectible and more conventional in their materials and techniques&mdash;an attitude that elucidates a direct relationship between conservation and recognition. The exhibition,&nbsp;which&nbsp;gathers 27 artists from around the world, delves into an underside of self-taught art and art brut, opening a door to the study of its neglected facets.<br /> <em>&mdash;Val&eacute;rie Rousseau, PhD, curator, self-taught art and art brut</em></p> <p style="text-align: justify;"><em>&nbsp;</em></p> <p style="text-align: justify;"><em><br /></em>Major support for the exhibition is provided by the National Endowment for the Arts: Art Works. Additional support is provided by The Coby Foundation, Ltd., Joyce Berger Cowin, the David Davies and Jack Weeden Fund for Exhibitions, the Gerard C. Wertkin Exhibition Fund, the Leir Charitable Foundations, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.</p> Wed, 25 Feb 2015 15:10:49 +0000 Martin Barre, David Ostrowski, Julian Schnabel, Reena Spaulings - Andrea Rosen Gallery - March 5th - April 25th <p class="p1" style="text-align: justify;">Andrea Rosen Gallery is pleased to announce <em>Enigmas</em>, an exhibition of works by Martin Barr&eacute;, David Ostrowski, Julian Schnabel, and Reena Spaulings. Curated in collaboration with writer and art historian Alison Gingeras, the exhibition engages the notion of imprimatur. &nbsp;</p> <p class="p2" style="text-align: justify;">Despite the word&rsquo;s initial loftiness, it offers a precise entr&eacute;e into a specific set of problems that many artists face when creating pictorial work. This exhibition hopes to explore the ways artists both physically and metaphorically create credible &ldquo;imprints&rdquo; or gestures at the same time that they generate a sanctioning belief in their various approaches to mark-making. The term &ldquo;imprimatur&rdquo; also brings to mind the burden of approval: in an ecclesiastical setting, the term refers to the Church granting permission to publish or print.&nbsp; In an artistic context, imprimatur addresses the artist&rsquo;s need to create a distinguishing mark, to give credence to their enterprise (no matter how de-materialized, unorthodox or conceptual), to generate approval or faith in their oeuvre. In different ways, then, each of the artists in this show is concerned with signature residue: their works challenge the viewer into believing in the artistic aura of their gestures, however minimal.</p> <p class="p2" style="text-align: justify;">An artist whose work is almost synonymous with the notion of imprimatur, Julian Schnabel has created a group of paintings that highlight his significance as a paradigmatic practitioner of contemporary abstraction. Many of Schnabel&rsquo;s signature tropes&mdash;the use of dropcloths and soiled canvases, the incorporation of studio debris and other &ldquo;imperfections&rdquo; into the body of the work, and his re-imagining of found materials&mdash;have become celebrated gestures in contemporary painting. Although not always acknowledged, his influence is visible in the works of a current generation of painters that includes, Joe Bradley, Dan Colen, Sergej Jensen and Oscar Murillo to name but a few.&nbsp;</p> <p class="p3" style="text-align: justify;">While Schnabel has been making paintings with spray-paint for more than thirty years, the body of work on view in <em>Enigmas</em> remains relatively unknown; these more recent paintings are built on a single found photograph whose weathered emulsions gave birth to an image beyond the original. The exhibition sets up a specific dialogue between Schnabel&rsquo;s works and three significant oeuvres that provoke viewers to consider how meaning is created and communicated via even the most minimal of visual and conceptual gestures.&nbsp;</p> <p class="p3" style="text-align: justify;">Martin Barr&eacute;&rsquo;s spray-paint works from the 1960&rsquo;s establish an early chronological and conceptual anchor. Barr&eacute; created spare, minimal figures which left much of the canvas open; when he began using spray paint in 1963 as a reflection of his appreciation of graffiti in the Paris metro, he employed a particular matte black to create white surfaces marked by traces or stripes.</p> <p class="p3" style="text-align: justify;">David Ostrowski&rsquo;s painting practice provides a contemporary counterpoint. Ranging from restrained blue marks on a raw canvas ground to barely visible foot print traces on a naked canvas, his work draws on the performative &ldquo;aura&rdquo; of these marks and is fueled by a self-generated mythology centered on his studio practice and his infamous foot fetish.</p> <p class="p3" style="text-align: justify;">Reena Spaulings&rsquo; <em>Enigmas</em> series extends the theme of the mark-as-gesture into sociological terrain; formally, the soiled tablecloths from art-world dinners, stretched into minimal paintings, close the circle opened by Schnabel more than thirty years ago.&nbsp; The exhibition borrows its title from this body of work: its principal concern is the enigmatic process by which artists generate an &ldquo;imprimatur&rdquo; and invest their work with an aura of credibility.&nbsp;</p> <p class="p3" style="text-align: justify;">In keeping with the Gallery&rsquo;s program, this exhibition is grounded in a deep critical examination of the work. Presenting Julian Schnabel&rsquo;s new paintings considers both his influence and his critical reception. Contextualized in relation to historical and contemporary practices engaging the physical, metaphorical, and sociological types of mark-making, the works provoke a simultaneously distinctive and historically positioned experience for deepened interpretation and reflection.</p> <p class="p3" style="text-align: justify;">&nbsp;</p> <p class="p3" style="text-align: justify;"><em>Martin Barr&eacute; was born in 1924 in Nantes, France. He lived and worked in Paris.</em></p> <p class="p3" style="text-align: justify;"><em>David Ostrowski was born in 1981 in Cologne, Germany. He lives and works in Cologne.</em></p> <p class="p3" style="text-align: justify;"><em>Julian Schnabel was born in Brooklyn in 1951. He lives and works in New York City and Montauk, Long Island.</em></p> <p class="p3" style="text-align: justify;"><em>Reena Spaulings emerged from the daily operation of an art gallery (Reena Spaulings Fine Art, founded by John Kelsey &amp; Emily Sundblad), in 2004, and works in New York City. <br /></em></p> Wed, 25 Feb 2015 15:22:33 +0000 Sharon Hayes, Tony Lewis, Adam Pendleton - Andrea Rosen Gallery 2 - March 6th - April 25th <p class="p1" style="text-align: justify;">Andrea Rosen Gallery is delighted to present an exhibition of work by Sharon Hayes, Tony Lewis, and Adam Pendleton at Gallery 2. The exhibition explores the relationship between the use of language and the formal and social implications of abstraction.&nbsp;</p> <p class="p2" style="text-align: justify;">In this exhibition Sharon Hayes presents two works, each a fragment from a banner carried in the Women's Strike for Equality on August 26th,&nbsp;1970. The works approximate the scale of the original banner, but the material transformation and presentation of selected letters from the word women alter the original&rsquo;s legibility and seemingly straightforward declaration of meaning.</p> <p class="p2" style="text-align: justify;">Tony Lewis presents a large graphite work on paper diptych featuring a symbol based on Gregg shorthand. These works continue Lewis&rsquo;s interrogation of language systems. Using the shorthand symbols, these works are at once technically more specific while becoming increasingly gestural and abstract.</p> <p class="p2" style="text-align: justify;">Presenting a painting from his well known body of work &ldquo;Black Dada&rdquo; as well as a newer work from a series layering text and images on mirrored stainless steel, Adam Pendleton&rsquo;s works in this exhibition give material form to the artist&rsquo;s engagement with a dynamic idea of history; one that is ever mutable and reflective of subjective and infinite narrative potentials.</p> <p class="p2" style="text-align: justify;">Instrumental in the thinking about this exhibition is a 2006 essay about Felix Gonzalez-Torres&rsquo;s work by Miwon Kwon. In it she argues: &ldquo;the radicality of FGT&rsquo;s work lies in the insinuation of the particular in the place of abstraction, while simultaneously destabilizing the particular as a fixed positivity. And with this complex move, the artist accomplishes a remarkable reversal: <em>everyone </em>becomes a particularly marked subject, making it impossible for there to be an unmarked, invisible, hierarchy-determining point of reference. Which means that no one is less than public either.&rdquo; Kwon&rsquo;s text provides a useful lens for reading these works as well, offering a possible way for abstraction to engage with specific histories, politics, and identities.</p> <p class="p2" style="text-align: justify;">&nbsp;</p> <p class="p2" style="text-align: justify;"><em>Sharon Hayes was born in 1970 in Baltimore, MD. She has had major solo exhibitions at the Reina Sofia, Madrid; the Art Institute of Chicago, and most recently at the Whitney Museum of American Art, New York. Her work has been widely exhibited in significant exhibitions including The Encyclopedic Palace at the 55th Venice Biennale; the 2010 Whitney Biennial, documenta 12 (collaborative project), Kassel; MoMA PS1, Long Island City, NY; Generali Foundation, Vienna; Museum Moderner Kunst (MUMOK), Vienna; Artists Space, New York; New Museum, New York; Tate Modern, London; and the Istanbul Biennale. Hayes has been recently granted the Alpert Award in the Arts. The artist lives and works in New York.</em></p> <p class="p2" style="text-align: justify;"><em>Tony Lewis was born in 1986 in Los Angeles, California. Recent exhibitions have taken place at Massimo de Carlo, London; Shane Campbell Gallery, Chicago; Room East, New York; Richard Gray Gallery, Chicago; and Autumn Space, Chicago. His work was presented in the 2014 Whitney Biennial, and will be the focus of an upcoming solo show at Shane Campbell Gallery, Chicago. Lewis lives and works in Chicago, IL.</em></p> <p class="p2" style="text-align: justify;"><em>Adam Pendleton was born in 1984 in Richmond, Virginia. Recent solo exhibitions have taken place at Galleria Pedro Cera, Lisbon; Pace Gallery, New York; Shane Campbell Gallery, Lincoln Park; Travesia Cuatro, Guadalajara; and Pace Gallery, London. Pendleton&rsquo;s work recently included in group exhibitions at Whitechapel Gallery, London; 21er Haus and Winter Palace, Vienna; Studio Museum in Harlem, New York; Pace Gallery, Beijing; Museum of Modern Art, New York; Swiss Institute, New York; and Palais de Tokyo, Paris. Pendleton lives and works in Germantown, New York, and Brooklyn, New York.</em></p> <p class="p3" style="text-align: justify;">This exhibition is organized by Cory Nomura.</p> Wed, 25 Feb 2015 15:27:57 +0000 Candice Breitz - Andrew Kreps Gallery @ 535 West 22nd - February 28th - April 25th <p style="text-align: justify;"><em>I do think an artist and a psychoanalyst do the same thing, in a way. They&rsquo;re presented with an official version of reality, and then they say, &lsquo;Okay, but what&rsquo;s underneath that? What are the hidden factors driving it?&rsquo; We&rsquo;re both fascinated by the human condition in general &ndash; we want to know what&rsquo;s really going on.</em>&nbsp;(David Cronenberg)</p> <p style="text-align: justify;"><em>Treatment</em>&nbsp;(2013), a new dual-channel installation by Candice Breitz, brings an original soundtrack to three key scenes from David Cronenberg&rsquo;s&nbsp;<em>The Brood</em>&nbsp;(1979), a film that the director has described as deeply personal.<em>&nbsp;The Brood</em>&rsquo;s autobiographical script explores the emotional strain experienced by a couple as their marriage dissolves and a custody battle for their young daughter Candice ensues. Himself going through divorce and fighting for custody at the time of writing&nbsp;<em>The Brood,</em>&nbsp;Cronenberg creates&mdash;in the plot of his film&mdash;a movie facsimile of the psychological drama that he was facing in his own family life at the time. Brutally exploring the fabric of family nightmares&mdash;painful conflicts between father and son, mother and daughter, daughter and father&mdash;<em>The Brood</em>&nbsp;is above all a powerful study of dysfunctional parent-child relationships.</p> <p style="text-align: justify;">For&nbsp;<em>Treatment</em>, Breitz enlists herself, her own mother and father, and her real-life psychotherapist to inhabit and re-create a series of scenes from&nbsp;<em>The Brood</em>. As with the Cronenberg film,&nbsp;<em>Treatment</em>&nbsp;resists indulging concrete autobiographical information, denying onlookers voyeuristic access to Breitz&rsquo;s actual relationships with her parents and therapist, and focusing instead on the psychological horror that lies potential within family life.</p> <p style="text-align: justify;">At key moments in&nbsp;<em>The Brood</em>, we observe the renegade psychotherapist Dr Hal Raglan (played by Oliver Reed) administering therapy to traumatized patients. Dr Raglan&rsquo;s experimental techniques require patients to reenact family relationships as a means of working through their trauma. His treatment involves intensive bouts of therapeutic roleplay during which the doctor typically plays his patients&rsquo; abusive parents or maltreated children. Breitz isolates three such scenes for&nbsp;<em>Treatment</em>, projecting them one after the next on a gallery wall, in a constant rotation that evokes the looping repetition of trauma. In removing these vignettes portraying therapeutic sessions from their service to the plot of&nbsp;<em>The Brood</em>, Breitz allows them to exist independently of the film&rsquo;s fictional narrative.<br />Stripped silent of Cronenberg&rsquo;s original soundtrack, the isolated scenes now receive their vocal content from the soundtrack of a second projection of the same size, which mirrors the original footage on the opposite wall of the exhibition space. The second projection consists of a sparse visual documentation of the making of this new soundtrack: set in a professional sound studio, the footage cuts between four individuals, each seated at a microphone, each laboring to project his/her voice convincingly into the body of one of the actors appearing in the original scenes projected on the opposite wall.</p> <p style="text-align: justify;">The credits of the work confirm the identities of the dubbing team: the artist&rsquo;s de facto psychotherapist Dr Renate Becker synchronizes the voice of Dr Raglan across all three re-voiced scenes, while the voices of the three patients undergoing therapy are painstakingly recreated by the artist&rsquo;s mother, father and the artist herself. This move is consistent with Cronenberg&rsquo;s view of cinema as a space in which to &ldquo;rehearse the difficult things of life,&rdquo; and points strongly to Breitz and Cronenberg&rsquo;s shared interest in the overlap between cinematic analysis and psychological analysis.</p> <p style="text-align: justify;">In inviting her parents and therapist to vocally re-articulate the domineering Dr Raglan and his longsuffering patients, Breitz literally loops Cronenberg&rsquo;s cinematic analysis of the psychological wounds that parents inflict on their children through her own mother and father, bringing full circle a fictionalized study of trauma that originally grew out of Cronenberg&rsquo;s processing of his own family horror story.</p> <p style="text-align: justify;"><em>Treatment</em>&nbsp;directs our thoughts to the circular nature of the relationship between real life and reel life; to the ability of film to give voice to the stuff of life in the guise of fiction, but also to the alchemy via which cinematic fiction in turn becomes &lsquo;real&rsquo; for its viewers, as it vocalizes their actual or imagined experience. In the words of Paul Auster, &ldquo;Novels are fictions, of course, and therefore they tell lies (in the strictest sense of the term), but through those lies every novelist attempts to tell the truth about the world.&rdquo;</p> <p style="text-align: justify;"><em>Treatment</em>&nbsp;was commissioned by the Toronto International Film Festival 2013. It was awarded first prize in its category (non-linear video installation) at the B3 Moving Image Biennial in Frankfurt in October 2013.</p> Thu, 02 Apr 2015 17:45:45 +0000 Jamie Isenstein - Andrew Kreps Gallery @ 537 W. 22nd - April 2nd - May 2nd <p style="text-align: justify;">The Andrew Kreps Gallery is pleased to present its third solo exhibition with Jamie Isenstein, entitled&nbsp;<em>Para Drama</em>. The works in the show explore Isenstein&rsquo;s continued interest in the mercurial nature of truth, illusion, the self, the body and performance as seen through the window of a haunted house.&nbsp;</p> <p style="text-align: justify;">In the lingo of the ghost hunters, the term&nbsp;<em>para-drama</em>&nbsp;is sometimes used to describe the annoyance created when some paranormal investigators enact fake spirit activity often for spectacle on television. But in this world where no one has scientific proof to backup their research, who can say what has been faked and what has not? The exasperation created by this problem has led to terrible infighting in the community, as different groups accuse each other of faking evidence and using claptrap gear. It is a slippery slope between believer and non-believer when those who swear they saw a ghost have to use enhancing gear and theatrical conventions such as darkened lighting to convince others of their claims.</p> <p style="text-align: justify;">Isenstein has used the disorientation of the<em>&nbsp;para-drama</em>&nbsp;as a starting point for work in the exhibition. Much of the work in the show straddles this line between suspension of disbelief and attempts at a transparency and truth. In the&nbsp;sculpture/performance&nbsp;<em>Mechanical Bed,</em>&nbsp;2015, the acts of leaving and coming are made apparent in the shifting of sheets and covers by an unseen actor.&nbsp;&nbsp;The bed appears to make and unmake itself as if a ghost sleeps here. The title refers to a famous 18th&nbsp;century automaton, the "Mechanical Turk" that apparently played chess with a human opponent. Eventually, it was revealed that a small chess master inside the case operated the figure.&nbsp;As with&nbsp;<em>Mechanical Bed</em>, 2015, the works in the exhibition also ruminate on the paradoxes of creating presence from absence, and vice versa.&nbsp;<em>Ghost Clothes,</em>&nbsp;2014,&nbsp;represents&nbsp;the traditional Halloween costume - a hokey bed sheet with eyes cut in the center - suggesting a present figure is actually absent &ndash; or an absent figure present.&nbsp;&nbsp;But here the white ghost costume is hung flat on a white gallery wall so that it camouflages and disappears. Only the eyeholes remain like a mask.&nbsp;</p> <p style="text-align: justify;">Like the protean body of a ghost, the work in this exhibition often suggests disembodied body parts that morph and change and take on lives of their own. In a corner of the gallery, gloved hands seem to cast a spell on an invisible subject sitting in a chair. Lying on pillows on the floor are harlequin masks that spew fire from their eyes or mouth like fire-eaters or deranged circus performers.&nbsp; And on the wall are a series of photographs of masks wearing masks. By putting on masks the support masks become anthropomorphized into faces so that these inanimate objects come alive. At the same time, the layering of these masks emphasizes their emptiness. Behind the illusions there is nothing.&nbsp;Absurdly, the more masks the masks wear, the deeper the layering of nothingness becomes.&nbsp;&nbsp;<em>Onions</em>, 2015, is a sculpture of many masks layered over the hollow head of a mascot costume. The title of the work refers to a monologue in the Henrik Ibsen play&nbsp;<em>Peer Gynt</em>&nbsp;in which Peer peels away the layers of an onion as he examines the various roles he has played in his life. Eventually he comes to realize there is nothing substantial at the core.</p> <p style="text-align: justify;">Jamie Isenstein has had solo exhibitions at the Hammer Museum in Los Angeles and more recently at the Douglas F. Cooley Memorial Art Gallery at Reed College in Portland. Her work was recently featured in&nbsp;<em>Pratfall Tramps</em>&nbsp;at the Atlanta Contemporary Art Center. She has also exhibited her work at CCA Wattis Institute for Contemporary Arts, San Francisco, P.S.1 Contemporary Art Center, Long Island City, the Manchester International Festival,UK and Tate Liverpool, UK.</p> Thu, 09 Apr 2015 09:00:55 +0000 David Shrigley - Anton Kern Gallery - April 16th - May 23rd Sat, 04 Apr 2015 10:07:14 +0000