Ibid Gallery, London is pleased to announce a new two-person show by David Adamo & Rallou Panagiotou.
Part of David Adamo’s practice is the reconstruction of the materials of objects and their amplification and reduction. Unlike his previous sculptures, which were produced by means of small performative actions (smashed bronze tomatoes, half-eaten corn on the cob), the latest works shown at Ibid Gallery are made of molded ceramics and are presented as archeological objects on low standing wooden plinths.
In this installation, the plinths themselves are cubes of cedar wood, a material that has been central to Adamo’s practice, carving and chopping these into usually taller cedar totems. This new series of objects creates an atmosphere of enigma and mystery – yellow wax birds, a ceramic hipbone, a headrest for the artist’s head, sculpted stones, a finger in a knot and a worm in the ground – and take up the entire main space of the gallery creating a dense atmosphere of materials. The objects are also suggestive of a resting place or a tomb and have a direct connection to the human body.
Rallou Panagiotou’s composite sculptures derive from the topological anatomy of Kalypso, a cosmopolitan luxury resort of the late 70s- early 90s for continental Europeans, now lying derelict. Occupying the wall and the aerial space of the gallery, her work looks both at architectural features of the built environment and accessories attached to the body as technologies of the self and as indicators of possibility.
In her new sculptural syntheses in marble and metal casts, Rallou Panagiotou takes architectural excerpts of the broken and disused materiality of the resort’s communal spaces and via industrial processes she transforms and solidifies them anew in a state between an autopsy and a freeze-frame shot. Disco lights, stage lights and polished nails are rendered as artefacts of a state of jouissance, desire and possibility, extracted from the tide of modernity and connected to an ontological matrix where dichotomies between past and present, now and not-now, potential and act are dissolved.
Her works of reconstructed 'artefacts' are mapped according to an idiosyncratic approach to the classical technique of the Art of Memory, as an amalgamation of spatial constructs where ‘things’ and abstract notions are situated in order to be memorised. Linked to the contemplations of Suzanne, the fictional character of Jean Giraudoux’s Suzanne and the Pacific, the club lights, the stage lights and the polished nails are All those things which later were to become our weapons, they penetrated us through the most secret channels.
David Adamo was (born in Rochester, New York, 1979) lives in Berlin, Germany. Recent solo exhibitions include Untitled (Music for Strings), Ibid Gallery, Los Angeles, US (2016); Peter Freeman Inc., New York, NY (2016) and Albright Knox Art Gallery, Buffalo, NY (2015). Recent group shows include « Pièces-Meublés », curated by Bob Nickas, Galerie Patrick Seguin, Paris (2016); SOUVENIR, Galerie Perrotin, Paris; Berlin Status (2), Kunstlerhaus Bethanien, Berlin and Material World, Denver Art Museum, Denver, CO.
Rallou Panagiotou (born in Athens, 1978) lives in Glasgow, UK and Athens, Greece. Solo exhibitions include Proto Copies, Glasgow International (2016); Kalypso (Volume II), Radio Athènes, Athens (2016), Between Shampoo and Snakes, Ibid Gallery, Los Angeles (2014) and Liquid Degrade, Galleri Riis, Oslo (2013). Recent group exhibitions include Lanzarote, Union Pacific, London (2016); ArtNow: Vanilla and Concrete, Tate Britain (2015-2016); The Transparent Tortoiseshell and the Un-ripe Umbrella, Glasgow Sculpture Studios, Glasgow (2016); Super SuperStudio, PAC, Milan (2015); Hell As Pavilion, Palais de Tokyo, Paris (2013) and One Person's Materialism Is Another Person's Romanticism, Glasgow International, Glasgow (co- cur. with Anthea Hamilton and Lorna Macintyre) (2012).
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