Casey Richardson

Richardson 1 Richardson 2

Richardson 4 Richardson 5 Richardson 6 Richardson 7 Richardson 8

 

Casey Richardson

In Portals, Richardson creates virtual exhibition spaces where quotidian objects construct ambiguous narratives.  Televisions, iPads, computer monitors, and artificial plants are collated in absurd tableaus, which rethink the nature of exhibition and documentation.

My Lonely Days Are Gone / Part 2

Install+view+1Install+view+2Install+view+3Install+view+4Install+view+5Install+view+6Install+view+7_MG_3972+copy Install+view+9

My Lonely Days Are Gone / Part 2

Works by Caroline Kryzecki, Carla Arocha & Stéphane Schraenen, Claudia Comte, Friederike Feldmann, Matt Mullican, Christine Streuli, Tatjana Doll, Lily van der Stokke

Organised by Arturo Herrera at Arratia Beer

In 2010 My Lonely Days Are Gone brought together ten contemporary artists to explore the potential of a given physical space to generate wall works that commented on the role of abstraction.

Part 2 of My Lonely Days Are Gone continues to explore the connection among edge to edge images and the ready-made architectural set-up of the space. Each of the commissioned works in this exhibition focuses on a number of approaches to painting, drawing, collaging and printing. These non-permanent, site specific pieces juxtapose, at times, several techniques to probe the impact of specific interventions interacting with each other and within the space.

In rethinking the usual passive role of the wall as an area where to hang works, the artists have created artworks exclusively for each of the public walls as well as the floor of the gallery. My Lonely Days Are Gone Part 2 proposes both an active dialogue among the pieces and a special awareness of architecture as a receptacle for temporary images.

From its inception abstraction has had many meanings. Its history, ramifications and impact on our visual culture are still essential to contemporary art and artists. In this exhibition an emphasis on nonfigurative works considers the efficacy and potential of the practice of abstraction, and its complex relation between its autonomy and interdependency with references in the world. The differences between abstraction and figurative art are today less defined, more fragmented, openly cross- contaminated. It is precisely this pliable language that informs the exhibition allowing representational, theoretical and abstract pictorial strategies to be juxtaposed in interconnected ways. In this age of fundamental changes, abstraction continues to represent alternative sources and realities that address the visual investigation and conceptual research of contemporary artists. An underlying temporality is part of My Lonely Days Are Gone, as all works will be painted over after the exhibition ends.

 

Daniel Keller

1_DK_exhibition_view_1 2_DK_exhibition_view_2 3_DK_exhibition_view_35_DK_Stack-Relief-Dalston-Kutcher_2015_2 7_DK_LLCMarriage_Counseling_20154_DK_Kai❤Dalston_Bushwick-Banner_20159_DK_Onanet_Spiruline_1_201511_DK_Composite_Career_Captcha_Betterneties_2015 12_DK_Stack_Relief_Kai-Zuckerberg+Bushwick_Kutcher_2015 6_DK_Stack-Relief-☆ミScout_2015

Daniel Keller

works from Kai ♥ Dalston Bushwick at Kraupa-Tuskany Zeidler

Dear Dalston:

I’m sorry I misled you. When we left Cali I let you believe I wanted true Exit – from the Cali cults, from window-smashing devolutionary morons and political hysteria, from Silicon wild-eologies, from my daddy complex, from whatever. But you shouldn’t have believed anything I said.

It was a sovrin pipe dream, it was a huge success, it wasn’t what I wanted.

Wherever you go, there we are we said. Wherever I go, there she is. I meant. That’s the truth D. I wasn’t running away from Cali I was running away from Bushwick and it got too late before I realized I can’t because I love her.

I always did I always will. I wish I could have told you. You don’t have to be a self-sovrin to be bodily invaded by another.

Being with B is different… We’d do rock balancing together in the hills outside of Freistadt Cupertino.

Out by the biofuel pipeline and over the hills. Sentiment drones speeding past on a dopamine breeze. I felt part of something great and zen and vast. Socially substantial. One thing on top of another, one thing led to another. Being safe: the ultimate prize and the ultimate refuge.

KZ

– – –
Dear Dalston: I understand why you don’t respond. Maybe I wasn’t transparent: I’m sorry I made you part of my hostile emotional stack. I just always thought of you as part of this insatiable insecurity engine of narcissistic ego commodification and onanistic production. And I know I could have been more patient with your obnoxious ideas and incessant whining.

Our AKoN Sovrinty Marriage was such an obvi scam I don’t know how it lasted 5 days. But you’re more than an LLC to me, promise.

And I’m sorry about that joke about the hummingbirds. Only a few minor patches noticed.

Your feeds look good, I’ve been watching. KZ
– – –
Dear Dalston please check your holo
Kai
– – –
Dear Dalston Perhaps freedom isn’t all Exit and no Voice, perhaps freedom is provision of loyalty. I miss you
– – –
Dear Dalston –
I’m considering a return to AKoN to generate a two-year Sologamy binder contingent on my residence on SeaBoh33. I know crust punks are crustier and water people are wet but I have to come to terms with what I am too. Perseverance is a virtue but I’m not the type of person to inspire admiration in others. KZ
– – –
Dear Dalston:
The desert canvas works look viable. Very bitbank. I saw it on the holo here. Please check yours. K
– – –
Dear Dalston Have you heard from Bushwick? :( :( :( KZ
– – –
Dear Dalston:
So I’m almost used to the spirulina smoothies but I miss Hand of Providence. You’d hate it here but I’m beginning to feel repeopled again. I’m not gonna become another skinsuit I promise <3 KZ
– – –
Dear Dalston:
I met this girl, Mania. She’s no Bushwick but she’s interesting. She reminds me of you. She says “If we look deep into the core of peopling, at the essential nature of our special human cognition, descriptively, then we can get a perspective on what outward manifestations of peopling are good for us, normatively”.

I’ve been thinking about dying my hair.

KZ

Text by Ella Plevin

Images courtesy of Kraupa-Tuskany Zeidler & Hans-Georg Gaul

Peles Empire

Duo 1 Duo 2 Duo 3 Duo 4 Duo 5_1 Duo 5

 

Works from Duo at Wentrup, Berlin

The source of Peles Empire’s artistic practice is connected with the provenance of its name in the Carpathian Mountains of Romania: Peles Castle. The eclectic building from the 1870s is distinguished by its uncommon concentration of the most disparate styles – each room imitates a different era in architectural history. Barbara Wolff (*1980) and Katharina Stöver (*1982) have worked together as Peles Empire for nine years – their photographic appropriations of this “edifice of copies” and their subsequent ongoing spatial interpretations of the source material constitute a central point of departure for their works. An important strategy used by Peles Empire is copying the copy; inherent as well is the process of translating something spatial into two-dimensionality, which ultimately again manifests itself in three-dimensional objects. Also significant is that although the original documentary image may sacrifice some of its figurative quality through the artists’ manual reproduction of particular parts of the image, it simultaneously gains spatial quality as an abstract object. Peles Empire shows the complex and – in the truest sense of the word – multilayered results of this method in their first solo exhibition at WENTRUP.

The exhibition title DUO first of all underscores the genuine connection between original and copy. The two concepts are interdependent and only attain their full meaning through the existence of the other. No copy without an original – needless to speak of originals if there were no copies. Peles Empire is interested precisely in the gap within this relationship, in the process itself, and particularly in the images and forms that the copying process gives rise to in the first place.

Their kinship with artists such as Gordon Matta-Clark, who used the deconstruction of architecture, the disassembling into fragments and uncovering of layers, as productive momentum, is apparent. At the same time, merely through the process of translation, Peles Empire is capable of creating something that Hito Steyerl has called “fractured and flexible temporalities” which, in contrast to Matta-Clark, are not conceived in terms of an ultimate form, but privilege the unfinished. All the more striking are the richly detailed structures that their objects display – possibly precisely because they are not created with finality in mind.

Peles Empire reproduces pictures of spaces in order to create new pictorial spaces from them. Their achievement in the translation lies not only in the transformations from two-dimensionality into spatiality and back, but also in how they are able to transport a real space into the digital realm and then retrieve it for the physical environment of the exhibition. In this context, they not only display the actual splinters and fissures of their sculptural process, but also make it possible to capture the aesthetic fracturings and foldings that are free to develop only within the gap between original and copy.

Asger Carlsen

DS300615_010 DS300615_009 DS300615_008AsC.F-53._MG_2037_Master.web_ AsC.F-55_MG_9143_Master.web_ AsC.F-56_MG_6680_BEST_NEW_Master.web_ DS300615_007 DS300615_006

 

Asger Carlsen

Works from Drawing from the Hand at Dittrich & Schlechtriem, Berlin

Carlsen passes through the joining together and coordinated superimposing digital image templates to a brutal aesthetics, which focuses on a reassessment of the drawing process and a deformation of the subjects of the silhouette. With DRAWINGS FROM THE HAND Danish artist opens the fictional body hybrids of his earlier image series HESTER and WRONG and creates photographic, objects’ which have both archaic earthy and cosmic intangible remuneration. DITTRICH & Schlechtriem shows them simultaneously disturbing and alluring works in three different formats: 5 pigment prints of digitally synthesized photographs, 8 multi-layered, marble drawings’ on hot press watercolor paper and a shimmering, transmorphe sculpture that is based on a 3D printing.

The large-format black and white pigment prints make the front of the gallery extreme, objects’ on black mirrored glass surfaces. Carlsen, who works with electronic pens on tablet computers, collaged self-portraits with undefined material record and won the gestural vocabulary of Photoshop photo editor, z. B. from the time-consuming Blur, an old-masterly precision. The artist designs a raw, amorphous materiality, meat, metal and combined concrete like textures with partly futuristic surface structures. As a former crime scene photographer NYPD Carlsen has a sensitized access to post-mortem appearance of bodies and contrasts figurative details like eye sockets, noses and ears with coarse cracks and blood-like stains. A job is at times more than 200 photographic templates Step by step in a comprehensive, lasting up to six weeks imaging are combined. While earlier in the series are strategies of resolution and defacing of skin transitions in the foreground, then back breaking and transformation of the human body and its Utopian into Flipped materiality to the fore.

The exported in the format 40.6 x 28 cm, marble drawings’ show semi-transparent, gently towards their edges towards lightening color scenarios. By the artist with a pencil inscribes the silhouette of his face, the invisible gestures of the drawing hand on the computer realized on the concrete image carrier. For this also composed of numerous heterogeneous image layers work Carlsen photographs of the bathroom floor of his New York apartment used in Chinatown. These faded, interwoven by the time linoleum layers to remember this vein systems, maps, hematoma or about organ sections. The formative interplay between contingent soil and an unexpected intimacy by living room and facial contour of the artist also enables personalized readings.

The exhibition is the 3D photopolymer printing an immaterial shiny sculpture, scale 1: is executed to the photographic works 1 and treated with a metallic car paint. The asymmetric, ducted in a dark silver tone and supported by a golden ball relief structure shows the abstracted facial features of the artist. The amorphous, almost virtual character of the work is thereby the status of classical sculpture in question and intensified a trend that has already been created in the photographic series: Carlsen aims in his work on the design and analytical penetration of a kind Hyper-sculpture in which the viewer is clear at any time whether it is analog images of real objects or synthesized Photoshop designs.

Asger Carlsen overcomes DRAWINGS FROM THE HAND conventional boundaries of sculpture, Photoshop editing and classical drawing and cultured while a zone of referential between – objects that exist beyond the categories of the idea of ​​the design and its realization in the material. The previously hidden hand of the artist will be at different levels whether concretely visible by pencil marks or indirectly by fingerprints and modeling traces of the photographed material in his works. While the iconographic unity of the previous series of a new haptic rudeness turns, the associative spectrum increased significantly: morgues, pottery studios and comets surfaces now appear as atmospherically relevant reference points. The silent screams of the sealed body hybrids of Carlsen’s earlier works are transformed through the open medium of drawing in the echo of a new brutality of the material.

 

 

Marte Eknæs and Sean Raspet

05_27_15_001-900x601 05_27_15_007-667x1000 05_13_009-900x601 05_13_006-667x1000 05_27_15_006-900x601 05_13_008-667x1000 05_13_010-900x601 05_27_15_002-900x601 05_27_15_003-667x1000 05_13_001-667x1000

Marte Eknæs and Sean Raspet

Work from Calculus of Negligence

At Room East

“P   = Probability of Accident

B   = Burden of Precautions

L   = Gravity of Loss

c.  = Economically Efficient Outcome: minimum expense for precautions that carries an acceptable level of risk.

A logical calculus governs the space of accident. A variable built into the mismatching between layers––the chemical- biological, the infrastructural-architectural, the legal- financial. An algorithm set inside a set of brackets to contain spillage. Industry and injury are necessary partners. A laissez-faire accident can easily be accounted for. Perverse intentionality is more difficult and requires higher premiums. Terrorism, war and acts of God are in the same category for insurance purposes––exceptions beyond the scope of probability. Accidents beyond the accidental.

A functional mismatch, a hiccup in one layer can launch a cascade of events “downstream” like a slip n’ fall multiplied by medical malpractice and raised to the power of corporate malfeasance.

The atmosphere––the background of such events––is composed of the sum of its own quantum-thermal variations. Air in a black box.

Marte Eknæs (b.1978, Norway) lives and works in Berlin. Past solo exhibitions include “Perpendicular Picture” at Susanne Hilberry Gallery, Detroit; “Arranged for Effect” at the Trondheim Kunstmuseum, Norway; “Escalate” at Between Bridges, London. Eknæs’ work derives from the urban built environment, utilizing functional objects and appropriated strategies. Her exhibitions are often temporary site specific installations, integrating the architectural context into her work. Her book Formal Economy was released by Mousse Publishing this spring and her collaborative project Boom! with Nicolau Vergueiro is currently on view at Rise Projects, London.

Sean Raspet (b.1981, Washington, DC), lives and works in Los Angeles. Recent solo exhibitions include “Deformulation” at Societé, Berlin; a two-person exhibition at Chateau Shatto with Kelly Akashi; and “Residuals” at Jessica Silverman, San Francisco. Raspet’s practice engages the fluid materiality of industrial production and financial abstraction, often employing chemicals such as artificial flavorings and synthetic gases. His work has previously been exhibited in New York at ROOM EAST, The Artist’s Institute, and The Kitchen. He is the founder of Air-Variable, a scent fabrication company.”

Nico Krijno

New Gestures Fabricated to be Photographed - 1 New Gestures Fabricated to be Photographed - 2 New Gestures Fabricated to be Photographed - 3 New Gestures Fabricated to be Photographed - 4 New Gestures Fabricated to be Photographed - 5New Gestures Fabricated to be Photographed - Installation View 9 New Gestures Fabricated to be Photographed - 6 New Gestures Fabricated to be Photographed - 7 New Gestures Fabricated to be Photographed - 8IMG_2584_1000IMG_2610_1000

Nico Krijno

New Gestures:  Fabricated to be Photographed at WHATIFTHEWORLD

South African artist Nico Krijno’s works are a vibrating riot of colour, objects and patterns tearing through photography’s overpopulated landscape. With a unique and highly stylised vision that finds its form in prints, objects, books and other ephemera, Krijno is a trailblazer exploring the limits of photographic space.

Combatting the pristine nature of the commercial still life and its stable value system, his humourous approach to the genre embraces the myriad of transformations that the medium has endured in its recent history. Krijno is working within a chaotic artistic framework where the very identity of a photograph is in question, the material quality of the photograph has mutated from film to unfathomable digital data and where the speed of production and distribution has increased a million-fold in the past decade. It is with in this framework that the artist’s tools are for the most part intangible. In short, where photography as we once knew it has collapsed. But in its wake a space for experimentation has been born and it is the experiment that is the ‘salvation’ of photography. It is within this borderless turmoil that Krijno is constructing his distinct photographic universe.

In unstable times, the process and practice of the artist is reinvigorated. With a background in theatre and experimental video, the notion of performance is at the core of Krijno’s work. Logging his research and experiments online and in zines, photography becomes a play divided into acts. The photographic frame ceases to act as a transparent window on reality, instead becoming a means to rearrange it. More inventor than observer, he hunts through his surroundings, amassing rubbish and everyday objects to fabricate a private performance that will unfold in front of his lens. With the addition of paint and any textures he can get his hands on, Krijno ‘gets weird’, intuitively building up temporary sculptures and situations electric with possibility. Their transitory existence is then captured by the camera; magically odd and improbable encounters arrested in motion.

 

Everything is Collective

spread1spread4spread8

Deliberate Operations Issue No. 3 [Full Empty]

E.I.C Press is proud to announce the release of Deliberate Operations No. 3 [Full Empty].

In the third installment of the Deliberate Operations series, the E.I.C. continues its mission to explore the contemporary image as both record and road map with over 160 pages of new photographs, digital images, appropriations, and assemblage.

Deliberate Operations No.3 [Full Empty] begins with a cut-up essay that combines an original text by the E.I.C. with fragments of the cult classic sci-fi novel Roadside Picnic. The premise of that novel, a society faced with the presence of powerful and often misunderstood technology, sets the tone for a series of photographs, digital images, and assemblage that approach the contemporary image landscape as a Zone of unexplained phenomena and a source of dubious economies.

Thomas Albdorf

thomas_albdorf_01 thomas_albdorf_02 thomas_albdorf_03 thomas_albdorf_05 thomas_albdorf_06 thomas_albdorf_07 thomas_albdorf_08

 

Thomas Albdorf

works from Oh Fail, You Beauty at Fotogalerie Wien

Given the pervasive influence that photography has on our social landscape, it is no surprise that artists have taken the opportunity to fundamentally reconsider those terms by which the medium operates. One of the clearest responses has been a “sculptural” one, that is to say, an examination of material properties and the work of Thomas Albdorf fits comfortably within this rubric, though without being entirely confined to it. Indeed, to assert that this work is concerned with photography is perhaps to define it too narrowly. Although his most immediate subject is undoubtedly photographic, this does not mean that Albdorf is engaged in a debate about what photography can be in and of itself. This is merely where the work begins, not some essential definition of what photography is as a medium, but rather a set of propositions aimed at discerning how photographs act – that is to say, what they do, as photographs. It seems that the most significant concern for Albdorf is to expose the mechanisms of representation by using them in a reflexive or even contradictory manner. His diverse approach is ideally situated to untangle the mesh of possibilities that define photography as a medium – and which, in turn, determine how it is used. This work poses the question of what, if anything, we might find outside the conventional “limits” of the image.

-Words by Darren Campion

 

Colby Bird

colby_bird_01 colby_bird_02 colby_bird_03 colby_bird_04 colby_bird_05 colby_bird_06 colby_bird_07 colby_bird_08

Colby Bird

works from Hope Goes with Man to the Foot of the Gallows

Colby Bird’s most recent photographs are of objects (e.g., a candle, a rose, a statuette in a garden, a knife next to a raw steak) and a woman whose identity is never fully revealed.

The images are enlargements of Polaroid negatives (the component of instant film one peels away from the positive print and typically throws away). After scanning the negative and printing it large-scale, Bird paints each print with layers of wood stain until the paper is saturated. The resulting images have a velvety texture and a rich brown-black tone. Each image is cut in two, each half is framed separately, and the two halves pinch a piece of fruit between them (usually fresh produce, unless it is a likeness Bird carved from a block of wood).

This body of work is closely tied to Bird’s recent move from Brooklyn to upstate New York. Without the distractions of a major city, Bird’s thoughts have turned inward: toward evaluating his self-worth, his personal relationships, and ultimately, his mortality.

A new labor-intensive challenge Bird tackles with this body of work is the framing of his own photographs. His woodworking skills are far from masterful, but perfection is not the goal—Bird wants to establish a measure of economic accountability. Artwork is expensive, and its valuation is abstract and subjective. An example of a more straightforward transaction is paying a craftsman to frame a photograph. By framing his own prints, Bird is aligning his efforts with a profession more widely relatable than art-making and searching for concrete value and meaning in the objects he produces.

Despite the conceptual framework through which Bird filters his imagery—excessive labor, handmade frames, bisected photographs, slowly decaying fruit—at its core, the work is about love, loss, and self-reflection. In Hope Goes with Man to the Foot of the Gallows, Bird pulls back the veil of propriety to hint at his own personal insecurities, feelings of guilt, and pursuit of pleasure.

-Lora Reynolds Gallery, 2015