Dom Smith


Dom Smith

Work from his oeuvre.

“My practice extracts forms from the physical world and reconsiders their image through fragmentation and reordering. The transferability from one state of being to another and then back again provides the basis for my content. This preoccupation has brought about a pattern in my work wherein physical objects and surfaces are re-created as illusionistic 2D paintings. My method utilizes computer-controlled environments to create and manipulate items which come to me from passive seeing in life and from the memory of seeing said items. I build the subjects of the paintings in the computer and then attempt to render them as faithfully as possible into physical presences. I began this work by taking classical surface features such as moldings, cornices, and friezes and breaking them into fragments. I would install these fragments in arrangements suggestive of inherent symbolic relationships. The intelligibility of these relationships originates with liturgical imagery and the hierarchies of symbols in the church.” – Dom Smith

Travis Shaffer


Travis Shaffer

Work from O White Gods.

“O White Gods designates an ongoing series of new works. These works are a mixed-media exploration of whiteness.” – Travis Shaffer

Ann Lislegaard

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Ann Lislegaard

Work from Crystal World

Crystal World (after J. G. Ballard) is a double channel projection first shown at the Sao Paulo Biennial 2006. In the 3D animation a universe is constructed with architectural structures and a jungle that slowly crystallize. A text, generated from a letter written by the protagonist in J.G. Ballard’s novel The Crystal World (1966), describes a zone of entropy, a process of transformation and crystallization. The animation moves through spaces combining architectural elements of Lina Bo Bardi’s Casa de Vidrio and Oscar Niemeyer’s Matarazzo Pavillion, both in Sao Paulo. The Dead Tree (1969) by Robert Smithson and Untitled, Rope Piece (1970) by Eva Hesse are also installed and re-activated in the animation between other references.”

Louise Lawler

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Louise Lawler

Work from “No Drones” at Metro Pictures, New York.

“In her exhibition “No Drones” at Metro Pictures, Louise Lawler exhibits black-and-white images that are traced from her iconic photographs, printed on vinyl and mounted directly on the wall. Lawler uses her photographs of artworks in museums, private collections, auction houses and storage to continue her complex and ever-evolving consideration of art and objects in their working contexts. Photographs such as Chandelier, a picture of an ornate chandelier at a collector’s home overshadowing Fontana’s Concetto Spaziale in the background, and Hand on Her Back, a plaster cast of a crouching Aphrodite photographed at the New York Academy of Fine Arts, are transformed into reductive outline drawings.

The “tracings” were first shown in her 2013 survey exhibition titled “Adjusted” at the Ludwig Museum, Cologne. Discussing Lawler’s well-known work Salon Hodler and the picture’s various re-presentations the museum’s director Philipp Kaiser writes in the exhibition catalogue, “Salon Hodler, a color photograph taken in the noble home of a collector in Geneva, exists in a variety of [other] formats, as a black-and-white matted print, as a paperweight, a projection in public space, as well as a tracing. […] Whereas the black-and-white version appears as a document of the original work, in the best spirit of structuralism, the traced and enlarged version represents the skeleton of the picture. Having mnemonically lodged in our mind and imagination, the picture resonates merely as its own ghost. [The tracings] demonstrate empirically the further steps that can still be taken to explore the extreme ends and corners of pictures and their contexts.

To produce the traced works Lawler worked with children’s book author, illustrator and artist Jon Buller.

In addition to Philipp Kaiser’s essay, the “Adjusted” catalogue includes texts by Benjamin H.D. Buchloh, Hal Foster and Sven Lütticken. It is available at the gallery along with a coloring book of Lawler’s traced works, “No Drones” glasses, and a selection of open edition traced works.

Louise Lawler has participated in significant group exhibitions such as “The Pictures Generation: 1974-1984” at The Metropolitan Museum of Art, Documenta 12 and three Whitney Biennials. She has had one-person exhibitions at Museum Ludwig, Cologne; Albertinum, Dresden; Wexner Center for the Arts, Columbus, Ohio; Dia: Beacon, New York; Hirschhorn Museum and Sculpture Garden, Washington DC; Museum für Gegenwartskunst, Basel; and Portikus, Frankfurt. Her work is represented in the collections of the Art Institute of Chicago; Astrup Fearnley Museet, Oslo; Carnegie Museum of Art, Pittsburgh; Centre Georges Pompidou, Paris; Fondation Cartier, Paris; Glenstone Foundation, Potomac, Maryland; Guggenheim Museum, New York; Jumex Collection, Mexico City; Kunstmuseum Basel; Los Angeles County Museum of Art; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, Los Angeles; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York.” – Metro Pictures, New York.

Louis Eisner

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Louis Eisner

Work from Mountain Stream Ringtone.

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From our refreshing spring water to our calming decor, we carefully select all that is essential for a well- centered life. You are welcome to breathe in our custom diffused fragrance, take a sip of our revitalizing designer bottled water and gaze at the mesmerizing artwork that surrounds you.

Mountain Stream Ringtone is calling.” – Galerie Rodolphe Janssen

Camille Henrot

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Camille Henrot

Work from The Pale Fox

“Demonstrating the breadth of Henrot’s output, this exhibition comprises an architectural display system, found objects, drawing, bronze and ceramic sculpture and digital images. The Pale Fox articulates our desire to make sense of the world through the objects that surround us. Unfolding like a frieze across the four walls of the gallery, a polymorphous aluminium shelf provides a structure wherein the four points of the compass are aligned with stages in an individual lifecycle, the evolution of technology, philosophical principles of Leibniz and the four Classical elements: fire, water, earth and air. This highly personalised aggregation of distinct systems of thought is presented through an intense accumulation of objects and images encountered within a highly constructed, meditative environment.

The title of Henrot’s exhibition is taken from an anthropological study of the West African Dogon people published by Marcel Griaule and Germaine Dieterlen in 1965. Dogon mythology is thought to incorporate the belief systems of several different cultures, as well as astronomical, mathematical and philosophical systems of thought. Within this meta-narrative, the character of the ‘Pale Fox’ represents disorder and chaos but also creation, bringing about the formation of the sun. 

For Henrot, the fox is an ambivalent animal and a potential model for our primitive selves, thriving on waste and instigating a cycle from which accumulation and excess become productive again. Henrot is interested in entropy and disorder as fertile foundational principles in creative practice and the construction of knowledge. The Pale Fox reveals the element of disorder implicit in any system and the contradiction of this aspect of failure as a condition of its completion. 

Exploring varying scales and chronologies, from the history of the universe to the universe of the artist’s studio, the exhibition becomes a model for information storage and retrieval  – rolled and stacked images become objects, and objects from museum collections are substituted with Ebay purchases and scrolling slideshows on digital picture frames. Henrot relates the construction of knowledge to haptic and sensual experience, reflecting our common desire, evidenced in spheres from the artistic to the domestic, to create model worlds of fantasy and symbolism as a means of inhabiting reality.

The Pale Fox is commissioned and produced in partnership with Kunsthal Charlottenborg, Copenhagen; Bétonsalon – Centre for art and research, Paris and Westfälischer Kunstverein, Münster, where the exhibition will be presented in 2014-15″

Justin Lieberman

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Justin Lieberman

Work from “Squeezed Reliefs” at Martos Gallery, New York

“Here’s what the frenetic pace of a price-tagged art world has wrought: Justin Lieberman’s “Squeezed Reliefs” recycle unsold­ sculptures tacked onto canvases, topped off with paint that recounts the artist’s financial ruin. The artist makes clear in a statement that the black-and-white chicness of these eight works (all 2014) is meant to be a capitulation to what’s in style. One wonders if to enjoy these paintings is to also take part in the unforgiving cycles that led the artist here.

Pieces of sculptures drown under the paint, their original meaning has been co-opted by their worthlessness—at least by market standards. A stray wire hanger, a mannequin, bowls, and handicap signs all stick out desperately from the canvas’ surface. Most of the works’ titles come from archaic torture devices—Brazen Bull (an ancient Greek roasting), Leng tch’e (Chinese slow slicing), Peine forte et dure (stones placed on the chest until confession or death). Warped, white painted text, however, communicates past-due bills, an eviction notice, termination of service, and bad poetry (is there a difference?). In The Judas Cradle a slanted text begins, “You are in danger of losing your home,” its stylish skewedness somehow making the message less grave. Similar admonitions of “You must respond . . .” or “You are in violation . . .” mask the dregs of older works in the crowded frame. These newer, more aggressive amalgams compete for dominance with the ghosts of underlying narratives.

Two sculptures accompany the hanging works, including Arbeitsbeschaffungsmaßnahme (job-creating measure), a glass vitrine packed with art of friends, letters to collectors, fliers, exhibition cards, and some of the artist’s own work. The tight and anxious display mocks the frenzy of creating and supporting, and, in doing so, makes another work. Everything eventually becomes a part of another paycheck, as collected art-world ephemera become works, and old works get compressed into the new. In all these pieces, art has been reduced and reduced again until it’s something opposite: It’s a bill.” - Ali Pechman, Artforum

Olivier Cablat


Olivier Cablat

Work from Enter the Pyramid.

“The project Egypt 3000 deals with the complex relationship between contemporary Egypt and its glorious past. The project took shape between October 2003 and June 2004, when Olivier Cablat was working on a CNRS programme in Karnak, in the south of Egypt.
Enter the pyramid – first book of the project Egypt 3000 – is composed with a set of images found on the Internet using the keyword “pyramid”.” – RVB Books

Holger Kilumets


Holger Kilumets

Work from Maps and Territories.

“Maps & Territories is an elaborate exploration of the meaning of representation through a series of slightly disparate images, designed to relate to each other through the notion of free association. Borrowing elements from the history of art, photographic practice and advertising imagery, the series attempts to reveal the fragility of the mechanisms that sustain representations and raise questions about photography’s role as a representational device.

Representation, by its very definition, can’t be the thing it represents. Representations don’t merely recreate existing objects or elements of the phenomenal world; they beautify, improve upon, and universalise them. As a result, things get caught up in simulacrum, spectacle and fetish, creating a fictional world, a plastic postmodernity of illusions, appearances and images in which there is no capacity for a non-mediated relationship to reality.

In the contemporary world more and more things first become visible to us via the images we see of them. There is a shift towards the process of the replacement of an object by its image as representations in the form of photographs have become the dominant way through which we perceive and interpret the world around us. Because of this it seems vital to face the fundamental questions about the act of representation, its influence on our perception and understanding of reality and the habitus, modalities and the productive capacity of it.” – Holger Kilumets

Olve Sande


Olve Sande

Work from Suites at Galerie Antoine Levi.

“Suites, per definition, are to be considered as consequetive units or pieces following a specific order and harmony. Like multiple rooms opening up, following each other continuously, or windows allowing a view to emerge through a fixed space, suites both suggest and direct progression. Olve Sande’s works, then, follow this compositional logic, appearing as unified objects or extracts of a larger composition, which rather than functioning as fixed referents, invite the viewer to follow through. On a very practical basis, this manifests directly in the formatting of the works, as each piece is based on measurements from speci fic windows. The measurements were sourced from the architectural surroundings of Jørn Sværen, a Norwegian poet Sande has collaborated with for the exhibition. Through this, a bedroom, storefront, or café window may become displaced into the gallery and integrated into the sense of exchange and experience underlying the exhibition.

These standardised measurements function as a structural premise that contextualises the works in the exhibition and ties them to another. This is not only evident, however, in their formatting, but further in the materials employed by Sande for their realisation. The unpainted plasterboards are put into a direct relationship with paint-absorbent felt, entering the two into a mutual relationship characterised by the potential of spills. This becomes a clearly felt tension between the repellant and the absorbent; a tension that is highly emblematic of the spatial parameters Sande delineates in his practice. Each space becomes a space of dialogue between the materials and structures that form its existence, and by extension, inform our experiences within their con fines.

At that, there is an implicit poetry that lingers around the works, evoked in the elusive nature of the titles. As a viewer, one is made to wonder where the rigid measurements and architectural material vocabulary comes into relation with the sentimentality and enigmatical nature of the notes. They seem to hover on the sidelines, informing the work, almost distracting from its stark flatness. The titles and dimensions of the works, provided by Sværen through a series of exchanges with Sande, could be described as marginal notes; they become exposed as the internal commentary of the poet, responding in quiet, significant gestures to the experience of the Suites.” – Galerie Antione Levi