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Andrea Rosen Gallery is pleased to announce The Temptatio n of the Diagram\, a group show organized by Matthew Ritchie\, at our n ew Gallery 2 location. Ritchie has been represented by the gallery for almo st fifteen years\, and we are thrilled to present his first curatorial ende avor at our space. The exhibition explores the diagram as an essential mode of artistic practice and expands on themes Ritchie researched and consider ed as an Artist in Residence at the Getty Research Institute in 2012 and cu rrently at Columbia University.

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Excerpt from th e catalog essay by Matthew Ritchie

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In Flaubert’s ‘The Temptatio n of St Anthony\,’ the tortured hermit\, besieged by an encyclopedic parade of gorgeous visions\, finally calls out: “Somewhere there must be primordi al figures whose bodily forms are only symbols\, could I but see them I wou ld know the link between matter and thought\; I would know in what Being co nsists!”

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It is the last\, impossible temptation.

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As Susanne Leeb writes: “diagrams escape the insoluble dialectic of absence and prese nce which pervades the play of representation\, yet…diagrams have no status in art per se.” In art historical terms\, the diagram is both refuge and r efugee\, a universal visual bridge between the written and the seen\, but w ithout a home in either.

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This modest exhibition is not a history of the diagram but an organization of compelling examples of a specific kind of diagram\, hand-made diagrams that occupy the impossible space between id ea and reality. Perhaps they can somewhat counter the residual presumption that thinking runs counter to aesthetic contemplation\; that intelligence i s not beautiful. Perhaps we can see these diagrams as the artists do\, cent ral to their thinking about art-making. Diagrams are\, as Leeb puts it “A t ool for the making of relationships and for the abandonment of rational pro cedure.” For the anchorite saint\, this desire\, “to assume all forms - pen etrate each atom – be matter itself” is the final and irresistible temptati on\, the ultimate dream of the artist. Diagrams are the nervous systems of artists working with their skin off.

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In the presence of diagrams\, the profound questions of symbiosis between image and text\, scale and dist ance\, proximity and imagined immunity that define our use of any shared in formational space are all too painfully evident. 

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That is not to su ggest the diagram constitutes an easy escape route\, or a trap door for the visionary. Although for artists it may be precisely the progress their wor k makes away from the original index of reality that constitutes its true ‘ sensual objecthood\,’ diagrams ultimately reference an operable (if imagine d) dimensionality. Diagrams\, seen and hidden\, constitute the pivotal mean s for commutation between the multitudinous spaces of prediction\, memory\, fantasy\, language\, metaphor and instruction.

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If all this seems r omantic\, it is. The diagram is a trace of our collective efforts to articu late and negotiate an almost impossible circumstance: reality itself.

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Imagine a single dimension\, a point. Add a line. Now add an arrow to th e line\, a vector. Can you imagine another dimension? Go ahead. Add another line\, another and another. Now add arrows to all those lines. More! Are t hey all going in the same direction? Impossible!

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Are we there yet?< /p>\n

"The movement is everything\, the final goal nothing."

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Edua rd Bernstein.

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Matthew Ritchie’s installations\, whic h integrate painting\, wall drawings\, light boxes\, performance\, sculptur e\, and projections\, are investigations of the idea of information explore d through science\, architecture\, history and the dynamics of culture\, de fined equally by their range and their lyrical visual language. In 2001\, < /i>Time magazine listed Ritchie as one of 100 innovators for the new mil lennium\, for exploring “the unthinkable or the not-yet-thought.” His work has been shown in numerous exhibitions worldwide\, including the Whitney Bi ennial\, the Sydney Biennial\, the Sao Paulo Biennial\, the Venice Architec ture Biennale\, the Seville Biennale\, and the Havana Biennale\, and is in the collections of the Museum of Modern Art\, the Guggenheim Museum\, the W hitney Museum of American Art\, the Albright-Knox Museum\, the San Francisc o Museum of Modern Art and other institutions worldwide\, including a perma nent large-scale installation at MIT. He has written for Artforum\,  Flash Art\, Art &\; Text\, and theContemporary Arts Jo urnal\, and is a contributor to Edge. In 2012 Ritchie was Artist in Residence at the Getty Research Institute\, Los Angeles.

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Ritchie is currently Mellon Artist in Residence and Adjunct Professor in th e Graduate Visual Arts Program at Columbia University\, New York\, where he has organized two public workshops this spring to examine how we can exten d understanding and use of our new\, current dimension – where every image in history can be seen at once\, every idea can be communicated\, rebutted and digitally reformatted\, and every space can host any form of presence – in the shared space of cultureThe next workshop\, Art\, Infor mation and Networks\, will feature Albert-László Barabási and Caroline Jones\, moderated by Matthew Ritchie\, on April 19 at 6 PM at Columbia Uni versity. It is free and open to the public\; for more information\, visit a rts.columbia.edu. Ritchie will also take part in Rhizome’s Seven on Seven c onference in April.

DTEND:20130427 DTSTAMP:20141123T200003 DTSTART:20130329 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Temptation of the Diagram\, Aranda/Lasch\, Archigram\, Matthew Barn ey\, Joseph Beuys\, Mel Bochner\, John Bock\, Earle Brown\, Trisha Brown\, Lygia Clark\, Max Ernst\, Öyvind Fahlström\, Thomas Hirschhorn\, Steven Hol l\, Mark Lombardi\, Thom Mayne\, Julie Mehretu\, Matt Mullican\, Matthew Ri tchie\, Katy Schimert\, Carolee Schneemann\, Rudolf Steiner\, Wolfgang Till mans\, Barry Le Va\, Bernar Venet UID:266710 END:VEVENT BEGIN:VEVENT DTEND:20130329T200000 DTSTAMP:20141123T200003 DTSTART:20130329T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Temptation of the Diagram\, Aranda/Lasch\, Archigram\, Matthew Barn ey\, Joseph Beuys\, Mel Bochner\, John Bock\, Earle Brown\, Trisha Brown\, Lygia Clark\, Max Ernst\, Öyvind Fahlström\, Thomas Hirschhorn\, Steven Hol l\, Mark Lombardi\, Thom Mayne\, Julie Mehretu\, Matt Mullican\, Matthew Ri tchie\, Katy Schimert\, Carolee Schneemann\, Rudolf Steiner\, Wolfgang Till mans\, Barry Le Va\, Bernar Venet UID:267290 END:VEVENT END:VCALENDAR