S (oú s’insinue une impression sourde)
S (oú s’insinue une impression sourde)
S (where a muted impression slips in)
Xerox prints hung on a wooden box covered with raw canvas.
Raw is the materiality of what can be seen, the canvas is unprepared and stands as a vertical plinth.
The xerox prints in the space are painted with spray paint on the back and oiled on the front in order for the spray paint to break through them.
Break, they take a rest to dry a bit.
Rough colour particles in the air, then “came the desire to exhibit its nudity”.
The images on the prints stand as backgrounds which enhances the post production work on the paintings, each print is burnt with the same image, a metronomic branding that leads to an hidden loop which has to be broken at one point.
“S” like a broken loop or “the place where one was conceived matters much more than the place where one was born”, nevertheless each painting speaks with different voices, their mental approach leads to different directions, as the light shifts color a journey with different ambiances, with different tones, from early morning golden micka flakes on the shore, to outdoor sodium light lamp on a coast road at night where insects and bats flap around it.
“S” like a broken loop, due to the instability of the xerox prints which breathe according to the hydrometry of the space, they settle in, stretched when the air is dry, they get loose like a felt curtain when it rains outside. An emotional unpredictability.
“S” as if the gaze confined inside the glass tube of a neon which causes its radiant light, finally found the trick to break the loop it was trapped in. Now released the gaze spreads its raw nudity and vanishes in the air, the paintings could be seen as an attempt to catch it back, or at least some traces of it, but how does one catch something as immaterial as a transparent gaze?
After the rest, after the break.
The oiled prints are covered with large brush stroke of poppy oil, these brush stroke are applied blindly as the oil is transparent, this surface is then covered with spray paint to transfer the raw color of the spray can, in some kind of DIY printing process. The surface on which the prints are transferred with pressure, is the plywood panel the painting frame are made of, one can not predict the result of what’s gonna be printed on the wood neither what will be left on the print itself, the only thing of what we are sure of in this process is, the color of the can will be caught in its very materiality such as a neon tube gaze could be. The printed traces on the wood are blanked behind the raw canvas the frame is covered with, the loop is softened …
There is this distance, this very distance beyond which, one can’t read the details that balance the paintings, one slips into an interstice, an interstice is implied in the constellation of details which balances the paintings. Therefore the whole is forgotten, but the presence of the set remains printed as a negative image in one’s memory, it recalls us in a muffled way, muted like a drone sound as one is snatched by the details.
Break, they take a rest.
The structure of an empty frame lies on the floor, oversized in a little room, covered with the stigmata of the painting’s printing process, a patchwork display of leftover debris out of which emerges a fluttering image that one could grasp. Radiant light dots over the muffled loop, a Chinese ghost in the crowd breaks its flow, where “the language became a series of “blank”, “muffled” tonalities”*, it just floats.
JULIAN BECK STEVE BISHOP ADRIANO COSTA LENA HENKE ALEXIS HUNTER VINCENZO LATRONICO TOBIAS MADISON & FLAVIO MERLO KATRINA PALMER CORIN SWORN PILVI TAKALA JAY TAN
From Morn’ Till Midnight is the title of a painting dated 1946 by Julian Beck (*1926, died 1986), founder of the Living Theatre, abstract expressionist and poet. Alongside Robert Motherwell, Mark Rothko, Willem de Kooning, Jackson Pollock and Yves Kline his lively paintings were exhibited at Peggy Guggenheim’s groundbreaking gallery “Art of this Century”. Although inspired by this prominent group of abstract expressionist painters he turned the act of painting into a live gesture which involved the whole body, making the picture and the painter a single entity. Along with his wife, actress Judith Malina, he was the original engine of the avant-garde performance group “The Living Theatre” established in 1947. This is where he would fuel his artistic fervour until the end of his life, promoting ideas of anarcho-pacifism and liberalism throughout Europe, South America and the US.
From Morn’ Till Midnight tries to translate his idea of living acts into the concept of possibilities and time. Imagining the time lapse of a day as representation of a life-time-action, the space is conceived as stage for creation, destruction and poetry. The artists involved share the common trait of a demand for confrontation with action, voiced by dynamic gestures, opposing time that elapses passively but provoking change though active participation.
The central visionnaire installation by Tobias Madison and Flavio Merlo is an in-situ work that uses water to amplify sound. The work is intended as a play activated and performed by the computers, the gallery itself through its water and workers as an actual Frankenstein. The recording of the performance Frankenstein by the Living Theatre held in Berlin in 1965 is filtered, edited and sent back through the help of water; a swimming pool and sculpture of a stage that recovers the idea of action and freedom.
LA CREVETTE AMOUREUSE
This upcoming edition of the Berlin Gallery Weekend is dedicated to the French avant-garde poet Henri Chopin (1922-2008). Through Peppe Morra, director of the Morra Foundation in Naples, one of Chopin’s close friends and supporters, we have the possibility to exhibit the manuscript La Crevette Amoureuse (1967/1975). It is part of the trilogy of Le Dernier Roman du Monde, which Chopin started to write in 1961. La Crevette Amoureuse, however, was never printed until 1994 and only had its exhibition debut in 2012, as part of the group show “Ecstatic Alphabet” curated by Laura Hopman at the MoMA in New York.
The manuscript is a continuous movement of construction and deconstruction of meaning itself.
True to Chopin’s style, a certain Dada spirit hovers over the narration. We will open these 146 pages to the public in collaboration with the architects Kuhn-Malvezzi who will design the display of the show.
Wild Parrots have infested the park by where I live. A company of twenty moved in, and never left. Parrots are incredibly loud and bossy – like a gang of random thoughts loitering in the public space. They spot the ground and trees with their color, and fill the air with their speech. I imagine these birds, these organic recorders of other people’s sounds, collecting fragments of thought from the people passing by. When the Parrots take flight, their voices fill the air with the amalgamized chatter they have collected – overheard ideas and wonky propositions, repeated elsewhere for the benefit of others.
I stroll with one of these birds, the colored body tucked beneath my arm, re-telling ideas I’ve had about this and that, making them mean a little more. Models and metaphors are explained in detail. I tell accounts of one thing so I can explain another. Thoughts gathered into a story after being loosened. Surfaced in a way that only a good walk can bring about.
As the parrot takes flight, the stories become part of the air. This bird floats through the trees, talking as it goes. Vocalized propositions filling the atmosphere, residues of speech and thought settling onto the landscape below. Ideas about one thing are collected into forms of another.
Parrot Soup is the telling of stories, where thoughts about the big are relayed through the small
Parrot Soup is thoughts collected on the surface of a panel
Parrot Soup is a mobile – 64 eyeballs, a color spectrum, a form of black, and one of pattern
Parrot Soup is language in space
J. Parker Valentine
24 November 2012 – 6 January 2013
Who Made Who
When we talk about drawing we inevitably talk about movement within time, a stroke, a line, a cut, a present molded instantaneously into a past, another line and a future descends, passes again, past becomes present and the future is long gone. Time travels, utopic in essence.
But when is the decision made, at what point is it finished? Even though she could re-work it again and again, travel further, movement is freedom, inherently we don’t say stop, so when does it suffice? So many decisions to make none of them bigger than that final one, judgment unnecessary, the question of right or wrong has left the game.
We can say that there are factors of sales, expectations, pressure, but if we believe, and we continue to share an optimism not based on opinions but interest, a belief that there is a moment of purity, that the right decision is nothing but personal instinct, a personal moment of clarity, sincerity a necessity, seeing something there that is full, rich and the closest possibility to an end. In this moment the work is free to stand alone to be taken and loved or hated, put in reference, closed and finished, reopened again.
Finished only when placed or hung, J. Parker Valentine’s practice moves from the studio into the exhibition space, where pieces are set in close dialogue with the space surrounding them. Her drawings are mapping devices, prototypes for impossible sculptures, utopic architectures.
Taken in various apartments she has lived in between 2004 to 2009, the video montage in the small room tells a fictional story seemingly placed in one location. Looking out the window it gives us directions, situates us in space, with the impending leave-taking of someone. The moment of departure, the letting go, mirrors the artistic process of the artist while it functions like drawing as we generate lines wherever we go. The photos on the wall are shadows sculpted on a bathroom floor – Gestalten. The artist draws with the shadows to create an uncanny experience always on the edge of nearly becoming something, someone, then again someone else, in a space between memory and imagination. The two large fabric pieces further investigate space creation. Talking to the artist she highlights the importance of the negative space in the works, the body relations, the form that happens between.
Who Made Who is a statement with a feeling of a question, a palindrome that moves back and forth, Who interchangeable with What, the subject of discussion is object. The title implies authorship. It is a phrase about power and control, at the same time referencing found objects or allowing things to happen without control. In this sense the show gives way into the interior world of J. Parker Valentines practice. Although the discrete pieces act on their own, they are connected physically by a structure creating movement through the space that allows for collisions and relationships. A moment arises in which we can find a consensus, not by opinion, but by association and memory that leaves open what we see as the beginning or end for us, finished or unfinished – a reference point to something we have seen before or not yet.
Who Made Who is a double solo show realized at Galerie Max Meyer in Düsseldorf and Supportico Lopez Berlin.
Natalie Häusler’s installation Case Mod (from: Case Modification) exacts from the gallery space a field in which intimate and reciprocal encounters between audience and art practice are put to the test. Häusler compiles a situation, combining several elements derived from a simultaneity of studio and writing practice. Emerging forms, in this case, watercolor, sculpture and poetry, query whether they can uphold their fragilities and force of expression when exposed to the viewer and to each other. They articulate their mutuality when arranged in the exhibition space, producing crosscuts and intimacies, of visual, written and audio material, as well as of object and spectator/reader/listener. The audience becomes belated witness of the art practice as such, which the installation at once showcases and archives. Yet the present moment is highlighted, as the visitors leave their own marks on the piece, subtly shifting the color palette or destroying it altogether. Audio recordings of the voices of close friends, who are practicing artists and writers, reciting the poems, track down their intimate reception by an audience that is involved in both activities, production and reception. They capture the moment of surprise, when the poem was read for the first time. The intimacy of this contact is shared with the passing visitor, who must come close to the audio shelf, to be able to hear the individual reading. These shelves, each of which is cut and built from one sheet of stained glass, and customized for its assigned set of outmoded electronic equipment, serve as seductive support and hazardous repellant at the same time. The temporary construction of a space of this kind is part of Häusler’s inquiry of forms of intimacy, risk, close contact with the material, and inclusion to question modes of reception.
The book “Watercolors” documenting a one and a half year long correspondence in form of watercolors sent via email between Natalie Häusler and Californian artist David Horvitz is part of the exhibition. A book launch will be held on January 12th at Motto Berlin.
NATALIE HÄUSLER, born 1983 in Munich currently lives and works in Berlin. She received her MFA in 2011 from Bard College/Milton Avery Graduate School of the Arts, New York and a Diploma with honors and Meisterschueler degree from Braunschweig University of Art. A selection of recent exhibitions include: +6|2012 Shortlist Columbus Art Award, Kunsthalle Ravensburg, La Lucidezza, Reception, Berlin (2012), Als Morandi mit der Kinematographie liebäugelte, Supportico Lopez Berlin (2012), An Impossible Distance, Border, Mexico City. Her work has been shown at PS122 Gallery, New York, Soi Fischer Projects, Vancouver (hosted by Butcher Gallery, Toronto), Chelsea Art Museum, New York, Galerie Warhus Rittershaus, Cologne and Schnittraum/Lutz Becker, Cologne. In 2010/11 she received a one-year DAAD scholarship for New York and will be the holder of a grant for the Cité des Artes, Paris in 2013. She is a co-founder of the poetry press American Books (Natalie Häusler/ Ed Steck/ Brett Price).
For the spring exhibition of this year Supportico Lopez is having a temporary space upstairs the main gallery. In the main space there is an homage to the great figure of Gino De Dominicis, at Supportico Upstairs there is on view the group show “Als Morandi mit der Kinematographie liebäugelte” with works by Nicholas Byrne, Nicolas Ceccaldi, Marius Engh, Natalie Häusler, David Keating, Alek O, Niels Trannois and a project by Marius Engh & Tarje Eikanger Gullaksen
Supportico Lopez is pleased to announce his first solo exhibition with the italian artist Giulio Delve’.
Giulio Delvè (Naples 1984) elaborates on and brings to his studio the results of his document-searching and book-reading, and of his analyses of places and situations that have caught his attention and stimulated his interest. He observes and analyzes objects, architectures and elements in order to generate a reflection on their function and what can result from an alteration of this function. His is a reflection on power and the capability of symbols to establish space-time connections.
Azione meccanica (di una roccia effusiva su un solido amorfo) – Mechanical action (of an effusive rock on an amorphous solid) – is the title of one of Giulio Delvè’s works on display, which provides part of the title of the exhibition itself. A small, precious sculpture, an urban mineral, the physical and crystallized result of a violent gesture of protest with a strong political, anarchic meaning, namely, the launching of a sanpietrino – a cubic paving stone – against a shop window during the national demonstration of October 15 2011 in Rome, which saw harsh clashes. It is evidence of a political action, the result of a mechanical gesture. Evidence brought to the artist by a friend, a real, physical, sculptural element chosen for its capability to embody a specific moment of that event, more concrete and real than a photograph. Likewise, another sculpture on exhibit seems to strive to materialize reality, in this case, the artist’s own personal reality, through a cast of the arm of his heroin-addicted uncle. The other sculptures are a series of elaborations and studies created by Delvè and material recovered from (or found in) the studies of others, like the large head resting on a table, almost as if to underscore that the detail of his analysis and the tension it unleashes are better activated when going through a progressive and still undefined phase. The space of the gallery is divided into two stages, different, but both extremely rigorous in their communicative code. Emptiness and fullness. The front of the gallery space has remained a laboratory. Delvè’s studio thus seems to have acquired an appendix: the process is still ongoing.
“Amongst those who deploy a destructuring strategy, based on a re-reading of objects in the urban context, we find Giulio Delvè (Naples, 1984). His work employs tools that differ from a mere conceptual exchange. The basis of his method is a gradual analysis of the city’s external elements, which he often collects and leaves to decant in his studio. In Delvè’s work there is nothing ethnic or historical, he is more interested in exploring the few shared elements of a society which do not often have a unifying form to draw upon. It is a theoretical enquiry based on solid empirical grounds, that does not avail itself of a structure ‘created’ around the object, making this young artist’s work an objective examination of social practice.”
(Cura Magazine no.10, Winter 2012)
Giulio Delvè creates assemblages and installations made with materials endowed with an intrinsic narrative function because they are tied together by a fabric of visual connections, historical information, and personal and collective memories. His works often take on a stratified structure and evoke themes and specific forms of the preformative process that is at the very origin of their creation, as if the act of constructing was an appendix, an extension of the mental operation whereby the process of creation itself, rather than its final result, takes on fundamental importance.
Vincenzo De Bellis
(from the catalogue of the Ariane de Rotschild prize, Milan 2011)
THE FABLE OF THE BEES
The Fable of the Bees by Jan Peter Hammer is an exhibition based on the 1705 poem by Bernard Mandeville “The Fable of the Bees: or, Private Vices, Public Benefits.” In his poem and ancillary prose Mandeville brings into being the counter-intuitive argument that better people make the world a worse place, since so-called vices such as egoism or greed stimulate social prosperity, whilst altruism or honesty result in collective atavism and disinvestment. In spite of the harsh reception of Mandeville’s work, which gave great offense to contemporary readers, his core idea that private vices lead to an increase in public benefits was later recovered and popularized by the British Utilitarian School. Adam Smith’s “invisible hand” parable is an off-shoot of Mandeville’s fable minus the cynical crudeness, with an added veneer of scientific respectability that makes the argument much more palatable and less contentious. Fables and parables are moral tales whose aim is to instruct, each of which contains a lesson to be learnt by its readers. Though 18th century’s classical political economy embraced a moralizing function, economics has since gone to great lengths to hide its ethical foundations. Claims of neutrality notwithstanding, choices of economic policy remain largely political.
In Jan Peter Hammer’s eponymous video “The Fable of the Bees” – shot in the guise of a You Tube home-made production – an eager young professional unwittingly channels Mandeville’s reasoning, providing a good illustration of the adage that “practical men who believe themselves to be quite exempt from any intellectual influences, are usually the slaves of some defunct economist.”(J.M. Keynes)
The other work in the exhibition, “That Which Is Seen and That Which Is Unseen”, is a performance in which a hired security guard sits idly by a lump of cash, during the gallery’s opening hours for the whole length of the show. The guard’s task is to survey the money, yet the sum he is guarding is his own wage, which he will collect at the end of the assignment. That is, whereas the guard’s function is to watch over the money, the money’s function is to pay the guard for watching it. Reminiscent of Beckett’s literary compactness, guard and money are locked together in an absurd play, whilst in a Dadaist abstraction of the business cycle capital and labour cancel each other out. “That Which Is Seen and That Which Is Unseen” is a title borrowed from Frédéric Bastiat’s 1850 text “Ce qu’on voit et ce qu’on ne voit pas”, in which Bastiat lays out yet another parable, the “parable of the broken window”. Positioning himself against Mandeville’s notion that destruction brings net-benefits, Bastiat states that, “In the economic sphere an act, a habit, an institution, a law produces not only one effect, but a series of effects. Of these effects, the first alone is immediate; it appears simultaneously with its cause; it is seen. The other effects emerge only subsequently; they are not seen; we are fortunate if we foresee them.”
In our times of debt deflation and economic uncertainty what remains largely unseen is that though money has no price, securing its value comes with a high social cost.
Press release: Ana Teixeira Pinto
Supportico Lopez is pleased to announce the solo exhibition “Pareto optimality” of the Italian artist Danilo Correale.
The “Pareto optimality” is a concept used in economics to demonstrate how in a given group it is impossible to improve a subject’s condition without worsening another’s.
In his first personal show at Supportico Lopez, Danilo Correale focuses on crisis and its constant illusions, singling out a specific perspective, that of “success”, as the extreme result of a collective failure. Material illusions, today transformed into needs, and the idealization of statuses are the results of an abysmal gap that has opened up between reality and the “Televised reality” we are force-fed every day. Our culture is saturated with images of prizes, competitions, piles of money, golden coins, and all sorts of commodities. These images are reflected back by the “spectacularization” of ordinary life. A continuous praise of mediocrity that results in a generalized satisfaction with personal failure. An imaginary that points out the path towards new forms of consumption where the ultimate pleasure is the voluntary, conscious and self-satisfied depersonalization of the individual.
Moving from this theoretical premise, Danilo Correale defines his viewpoint through three passages in a single compositional process: a dictionary of financial and market terms on whose spine the artist has transcribed a passage from Borges’ Lottery of Babylon. In the three works made of recycled paper, the concept of Pareto optimality defines the production process of the work itself. This is made of pulped losing lottery tickets, which thus reestablish their value, turning from tangible signs of failure into a work of art. The video The surface of my eye is deeper than the ocean (2011) shows several people engaged, absorbed, concentrated in the obsessive gesture of scratching, a gesture that is depersonalizing in an alienating and almost pornographic way. These are every-day life glimpses of players whose gesture, which summarizes the failure of a whole society, is placed here under an inquisitive gaze. The aseptic and neutral setting underscores the scientific approach the artist applies to his narrative, using the personal experience of the spectator as a narrative and emotional element.
In the latest years Danilo Correale (Napoli 1982) has been invited in different international shows such as Manifesta 8 in Murcia, Spain, the 11th Istanbul Biennal at Pist Artist Run Space. Recently he presented the solo “Mosh Pit Control” Gallery Raucci Santamaria IT , and ” We are Making History ” at Entrèe, Bergen NO, and several Group Exhibition held in private galleries and public spaces such as, “Practicing Memory”, curated by M. Lucchetti, Pistoletto Foundation, IT, or “Give and Take” Via Farini, Milano, or “We Do IT” curated by M. Scotini, Kunstraum Lakeside, Klagenfurth, A, and residency program such as Ratti foundation, Como IT, A.I.R. Antwerpen, Belgium, BE, Mazama Residence, Seattle, USA.
Correale’s works has been commissioned among others by Manifesta Foundation and MADRE Contemporary Art Museum, he Currently lives and work in Ercolano, Napoli.
The five arms of Supportico
A letter to Gigiotto and Stefania regarding the exhibition The Five Arms of Supportico
By Zin Taylor
For the exhibition at Supportico Lopez I’m taking as a point of reference the support part of your space’s name. So I then ask the question: what constitutes a support? In thinking about why I’m making what I do, I recall a series of thoughts that I use to compose with. These thoughts/points/assistants are culled from conversations I’ve had with people in my past. What brings importance to them, and to my remembrance of them, is that through a conversational intersection, through me talking to these people, some kind of truism-like-tool was developed as an outcome. Memories are carried like objects in a bag, like a cast of helpers assisting to navigate what comes next. Challenges and problems are encountered with assistance. Maybe I’m talking about wisdom, the production of wisdom, or the identification of it – those things that people say in the midst of dialogue, and as the result of it, that have weight and relevance to what you then use to address future issues. The five arms I’ve produced for you, in some way or another, combine little rules for thought that I’ve carried around with me. They are employed when I think about an idea, or a piece of information, to effect how this source is then translated into a form – an object in space that people then look at. In a sense, I’m asking how do I make things visible? Things being the thoughts I have about a subject, and how these pieces of information are guided into a visual composition.
I read a book some time ago, a book from Mr. Mark von Schlegell, where a person’s severed arm dreams that it’s made of silver and attached to a girl in the 16th century. Although I may be confusing the dates here, the interest stays the same – that an appendage can think, and have experiences independent from the larger organism, adds an attractive complication to said appendage’s ability to produce a form. If a body can attach lateral points of difference, non-hierarchical appendages each thinking in a different way, the way in which that organism composes, the way in which I compose, would be altered with each arm I employ as my assistant. If I write with my left hand instead of my right the text looks different, the image of that depiction of language reads different. If I work with plaster and wood and clay, as I did with these five arms, the appendages with which I handle this malleable material would have a substantial level of influence in what this linguistic translation of word (arm) into object (arm) would look like. It’s a rather simple idea. If a person fixes a sink, or turns a sink on, or makes bread, this information is not summoned from the self-made ether of their brain. I dare say that in the midst of performing these above-mentioned tasks, a large percentage of the population would, at the bare minimum, be referencing past experience in one form or another.
Technically speaking, a supportico is a form of architecture used to reinforce a structure from below. Additionally, a supportico is something to stand under, to be sheltered by. Influences share a similar position within the conception of an idea. They assist in building the larger thing we see as important, that structure (or shell) that we then inhabit. Many units are employed to flesh out the idea, many bricks used to build a shelter. An ability to identify the individual parts that make up the whole has a pedagogical turn towards encouraging a larger part from those who view. There’s a ubiquity in the choice of the arm that lends support for this activated level of involvement. In simple terms an arm is a recognizable humanoid form. One long thing with five short things at the end can be used to reference an appendage – an arm. The coloring, patterning, gestural shaping of said form assists to describe the fashioning that occurs to individualize something familiar. I remember hearing, maybe reading, that ancient marble sculpture, what we now view as white marble forms of a particular aesthetic purity in there presentation, were in fact the neutralized ground for characterization in the form of painted finishes. Veneers of drama and reference provisionally applied to the surface of a much more static cum monumental base – David may have worn lipstick. Tangentially, T-shirts have slogans and images printed on them for a reason. You chose that shirt, jacket, trouser you are wearing for a reason. It’s a way of using a unit of information, a piece of clothing for instance, to methodically build a visual identity of what you are, what you are like, what you like. Sub-additionally, the works in this exhibition (as there are more than just arms) are choreographed around an idea of the shell, much the same way as a t-shirt could be seen to shell (or shelter) the form contained within. As surfaces they are receptive to differentiation in order to recognize their importance and role within the larger arrangement. They are places to locate narrative. Certain forms communicate in certain ways. These common forms, with slight differentiations, are supports holding up this structure of an idea that is you. They are Supporticos.
Zin Taylor (Canada, 1978) lives and works in Brussels.
Recent solo and group exhibitions include: KIOSK, Gent, BE (upcoming), The five Arms of Suportico, Supportico Lopez, Berlin, DE, The Units, Ursula Blickle Stiftung, Kraichtal, DE, The Voids, Galerie VidalCuglietta, Brussels, BE;
Melanchotopia, Witte de With, Rotterdam, NL, We Don’t Need To Need To Do This with Will Rogan and Iris Touliatou, MOTINTERNATIONAL, London, UK, The Gong Show, curated by Dieter Roelstraete, Micky Schubert, Berlin, DE, Ex-libris, Galerie VidalCuglietta, Brussels, BE
Supportico Lopez would like to thank Galerie VidalCuglietta, Brussels, BE
“Alto Sorto Sopra”
A text (1) for Alto Sorto Sopra an exhibition at Supportico Lopez (2)
Two cost reductions were agreed to.
1. Reduce the weight of the steel roof beam by making it much deeper.
2. Get rid of the counterweight
Inside the Endless House I found a Handcraft fair. To stipulate that correlations can be based either on physical conditions, on environmental conditions or even on the essence of the actual element. From the Nucleus House (1931) to the Space House (1933) to the Endless House (1959), Kiesler’s arguments is consistent with the suppression of the boundaries that separate artistic genres from scientific information magic and mythology and the organization of systems of relations réciproques between men and his surroundings.
Alto. Sorto. Supra. High. Rise. Above. No walls, no foundations- Kiesler dixit- and please get rid of the counterweight. Everything is reflective Flavio, and don’t forget the stairs. Oh, those stairs…
Crafts, a circuitous passage were sequence of objects travel from antiquity to the modern age with no resistance. Three textiles bought in the stand of two hippie-lumpens in one Handcraft Fair up north. From Lumpenproletariat to Hippie-Lumpen: ’swindlers, confidence tricksters, brothel-keepers, rag-and-bone merchants’. But also ‘the revolutionary archetype is found amongst educated unemployed youth, assorted marginals from all classes, brigands, robbers, the impoverished masses, and those on the margins of society who have escaped, been excluded from, or not yet subsumed in the discipline of emerging industrial work…in short, all those whom Marx sought to include in the category of the lumpenproletariat’. The identification (representation) of communities by the objects that represent (identify) them. Inside a Handcraft Fair I found the Endless House and so on (the ‘Endless House’ is called endless because all ends meet, and meet continuously).
The exhibition consists of Gris# 1 and Gris# 2 (2011), a poster designed by artist Thomas Locher (edition 250) were the title of the exhibition is superimposed to the original title of the exhibition and 22 Esquinas (2008), a series of drawings depicting a left bank dandy artist in search of his fiancé in a battered city with too many corners (that meet continuously).
Armando Andrade Tudela (3) (b.1975, Lima, Peru)
Studied at Pontifícia Universidad Católica, Lima, Perú, The Royal College of Art, London, and at the Jan Van Eyck Akademie, Maastricht. Currently lives and works in Berlin and St Etienne. Founder member of artist run space and art collective Espacio La Culpable, Lima, Perú.
His work has been exhibited in privat galleries and international cultural institutions such Carl Freedman, London; Kunsthalle Basel; Frankfurter Kunstverein; MACBA Barcelona; Annet Gelink, Amsterdam; Ikon gallery, Birmingham; Sprueth Magers, Berlin; DAAD, Berlin; Frac Bourgogne; Museo de Arte Moderno, Sao Paolo; Lyon Biennal; Shangai Biennal; Sao Paolo Biennal; Torino Triennale; Walker Art Center, Minneapolis; MMK, Frankfurt.
(1) This text quotes from Cecil Balmond, Informal, Karl Marx, The Eighteenth Brumaire of Louis Napoleon, Mikhail Bakunin Writings and Frederick Kiesler, Inside the Endless House.
(2) Opening 27th of April 19.00 . The show will be on until the 11th of June 2011.
Supportico Lopez is open from Tuesday to Saturday: 14.00 – 19.00 www.supporticolopez.com.
(3) In his practice, Armando Andrade Tudela has been developing the idea of units of information. Surfaces or modules of information that flow through different aspects of culture: history, architecture, vernacular paraphernalia, etc. Within this process, these surfaces become fields of contact or grounds in which several discourses are forced to migrate or move in acts of ever increasing replacements of displacements. In tracing such moves he pretends, first, to decentralize the conditions by which signs and symbols become fixed and static. And secondly, to reinforce the idea that through the reconfiguration or the interruption of values, meanings and processes, one can create imaginary solutions to comprehend our immediate landscape and historical background more clearly.
The works Kirsten Pieroth realized for the exhibition at Supportico Lopez have their starting point in an object with a very distinct and domestic nature: a bed.
Using an old discarded bed frame found on the street, Pieroth transformed the object once related to privacy and retreat into a display cabinet by using the wooden frame of the original structure. The cabinet displays an array of objects and documents related to the bed.
For Lamp, the bed springs of the frame have been dismantled and arranged in a way to mimic a decorative structure of a lampshade, thus evoking the notion of comfort.
View from a Bed consists of a short snapshot video, showing a bug circling in frenetic motions around a light bulb on the ceiling.
Kirsten Pieroth’s practice often centers on the corruption of everyday items, creating a tension between the literal and abstract readings of these objects as signifiers of particular historical and cultural moments.