Until December 5 2009
Using elements of drawing, painting, video, sculpture and installation, Mauss has utilized disparate media toward an experiential exhibition that is directly sensitized to both inviting and disconcerting the viewer. Works hover on the edge of palpability, as walking through the exhibition becomes a physical manifestation of ideas introduced through the various two and three-dimensional works in the show. A wood frame supports a sheet of stretched paper at the entrance of the gallery, a jagged geometric form carved out of its center. This passageway stands as both entrance and barrier. A series of drawings are etched into silver leaf; drawn, erased and retraced onto themselves, their reflective surfaces merge with their quasi-hieroglyphic inscriptions, allowing material and manipulation to coalesce into each other in volatile suspension. Precariously balanced on plinths almost flush with the gallery walls, these drawings function sculpturally as well, caught between being hung and being left behind. Another grouping of drawings is strung together like sentences, with images inserted into each other to create a confusing, rich simultaneity. These drawings are either displayed on low platforms on the floor, or affixed directly to the wall, creating an architecture of windows.
In the center of the gallery, an ambiguous video of a scroll being pulled through a pair of still hands is projected onto a wood plank. The projection echoes the various isolated frames found in the figuration of the drawings, which could be read as renderings of other projections. The constantly moving scroll recalls a film leader or printing press as it perpetually moves through the stillness of its carapace, in this case a pair of hands. Each piece or series of pieces, caught in its own duality, also communicates with the pieces around it, creating a sort of constellation of objects, or a new terrain in the gallery space. The viewer is implicated in its navigation, allowed to draw personal paths and fill in the illusory blank spaces.
Nick Mauss is currently included in the exhibition “Compass in Hand” at the Museum of Modern Art, New York. Earlier this year, he was included in “modern modern”, curated by Pati Hertling at the Chelsea Art Museum, New York. A catalog with text by Stefan Kalmer was published to accompany the exhibition. In 2008, he was included in the group exhibitions “Some Neighbors”, Kunstverein Munchen, Munich, Germany; and “Sunset” at Magasin, Grenoble, France. In 2007, Mauss and Ken Okiishi had an exhibition of their collaborative work titled “A Fair to Meddling Story” at the Kunstlerhaus Stuttgart, Germany and a catalogue of the project was published by JRP RIngier.
extracted from 303 gallery
The wall drawings and wood sculptures that make up the core of Olaf Breuning’s exhibition are based on the content and imagery of his small, childlike pencil drawings that “speak about the simple questions one could have about life.” These drawings are typically produced in concentrated episodes of self-imposed isolation; prior to this exhibition Breuning spent five days alone drawing in his room aboard the Queen Mary II. In their translation to a larger scale, Breuning’s humorous and earnest philosophical aphorisms are presented with a directness that is poignantly faithful to their source drawings. The wall drawings use broad black lines painted directly on the white walls. Their sculptural counterparts are essentially three-dimensional drawings made of wooden blocks painted black such as “Me, Me, Me, You and Me,” which depicts a human head in profile with each egocentric thought illustrated inside: a dozen “me’s” and a single “you.” In “Yesnoyesno,” the viewer is literally confronted with a wall of indecision.
In contrast to the existential, stark, black and white works, the third gallery is devoted to “color studies,” a series of works based on paint and primary colors. Breuning’s play with dripping, splattering and spraying paint is documented in these sculptures and photographs. Experiments that began as diversions in the studio evolved into Breuning’s active engagement with painting and abstract art—issues he never before considered.
Mirror Universe Tapes, 2009
Belong by Washed Out
Good Luck by Washed Out
Zizek ormai lo conoscono tutti. Più di Jacques Rancière e altri filosofi in voga ultimamente, è lui il vero filosofo del XXI secolo. Esperto di Lacan, amante del cinema americano, polemista finissimo, si fa le tresche con le modelle; sicuro di sè tanto da buttarsi in politica, è amato ugualmente da giovani studentesse in minigonna stile Polanski e da vecchi nerd che dormono in biblioteca, dalle riviste di moda alla MIT Press. Il suo egocentrismo lo ha portato ovviamente a fare quello che uno come lui non poteva non avere: un sito internet. (llp)
(recommended by lmg)