Through his practice, Justin Lieberman attempts to impose a quasi sociological order on the bedlam of a distinctively American subsistence by turning a flux of capitalist odds and ends- magazine clippings, found photos, counterfeit dollars, lottery tickets, small sketches, public signage, etc- into a subjective material history of late-modern life. It is tempting to regard this process as a systematic desublimation (in the Freudian sense) of various social, cultural, and economic orders, one which privileges a critical stance in regards to these things over a poetic one. Indeed, Lieberman often authors texts which would seem to support this view. However, if we examine these texts themselves as part and parcel of the artist’s practice, a different picture emerges. His pieces are frequently humorous and sometimes disturbing. However, there are works that reflect a sedate Lieberman, an artist more concerned with formal questions than with shocking or unsettling the viewer. (more…)
Soon – for sale in our shop – the new limited edition series of tapes commissioned by Nero to, among others, Spartacus Chetwynd, Paolo di Nola, Luca Vitone, Lucky Dragons. We printed the covers in the studio of Giovanni Canedicoda in Vittorio Veneto and, once there, we took the opportunity to go to Three Days of Struggle in Codalunga.
Presto – in vendita nel nostro shop – le nuove edizioni musicali a tiratura limitata di NERO, tra i nomi: Spartacus Chetwynd, Paolo Di Nola, Luca Vitone, Lucky Dragons. Siamo andati a stampare le cover nello studio serigrafico di Giovanni Canedicoda, a Vittorio Veneto, e con l’occasione abbiamo fatto un salto al Three Days Of Struggle 3, a Codalunga. Stay Tuned.
Two different ways to promote a brand…which do you prefer? (llp)
Until March 20
For his first installation at PaceWildenstein, Sterling Ruby has transformed a public transportation vehicle into a ready-made sculpture titled BUS, outfitted with a series of interior solitary confinement cages, speakers, sub-woofers, chrome fixtures, and exterior security doors. Inside this muted, claustrophobic environment, notions of excess and suppression are heightened to new extremes. Situated nearby, and mirroring BUS in scale (each sculpture measures approximately 10' x 9' x 40'), PIG PEN is a massive rectangular grid configured from a series of smaller custom-built rectangular blocks. Each individual block is comprised of four metal security doors, identical to those found on homes in urban environments. Both of these sculptural traps act symbolically as relics of a tarnished past, signals of a stagnating present, and warnings for an apocalyptic future.
Family Tyranny & Cultural Soup were cut from two days of taped performance at a community television studio in 1987. Featuring McCarthy’s fellow artist Mike Kelley, the videos are disturbing tableaux of familial horror, steeped in the stomach turning abjection that characterises the artist’s now renowned body of work.
Performed within a barely credible domestic set the format and characters in the videos enact several tropes of televised entertainment – the unruly teenager (as Mike Kelley attempts an escape through a window-like aperture) and the ‘how-to’ format of the cooking or DIY programme. The characters, just like the set, sit on the very edge of plausibility whilst the props also take on a life of their own at the border between representation and reality. It is this juncture, between fact and fiction, that McCarthy occupies in order to examine the dark fictions of cultural convention. (more…)