Ryan McNamara’s “Candid” and James Krone’s “Waterhome: We is Somebody Else” – Brand New Gallery

 

<em>James Krone</em>

James Krone

 

Brand New Gallery is pleased to present two first Italian solo shows: Ryan McNamara’s Candid and James Krone’s Waterhome: We is Somebody Else

American artist and performer Ryan McNamara creates situation-specific works that give form to an amplified participant perspective, involving spectators, other artists or professional dancers.  His interest pertains a social discourse developed through the subversion of the conventional notions of performance, embracing realism and interaction as necessary aspects of the visual experience. He creates his bi and three-dimensional objects before, during and after his performative events, using mainly collages of overlapped Xeroxed images, as an essential and integral part of his artistic practice.

For this show Ryan McNamara, drawn by contemporary cultural media in all its declinations, examines the candid camera and, in general, the mechanism of determined TV shows in which the reactions of unaware pedestrians confronted with paradoxical situations are registered. The audience is invited to participate with the support of interactive audio guides that lead them into McNamara’s world.

His influential works and projects (presented at Performa several times) have aroused the interest of important museums such as the Whitney or MOMA PS1 but also of famous fashion brands such as Louis Vuitton, who, in 2010, invited the artist to conceive a site-specific performance for its boutique on Fifth Avenue.

During the opening and every Saturday from 3pm to 6pm the gallery will host a special interactive and entertaining event curated by Ryan McNamara.

The second solo exhibition, James Krone‘s Waterhome: We is Somebody Else, is explained by the artist himself: “Waterhome is the factory name of an aquarium that was given to me as a gift a few years ago. I decided that I didn’t want any animals living in my house so I just filled the aquarium with water. The aquarium began to produce layers of algae that would eventually die and fall from the glass walls of the tank. This fallen algae would decompose and the aquarium would continue to produce more algae. I was attracted to the constant production of the tank. The production was the narrative and this narrative would end and then repeat and end and repeat and so on, without any sort of progression or goal.

I began to make paintings on glue sized canvas that I had intended to stand in as locations for me to reenact the actions of the aquarium. I chose four colors that I perceived in the algae or that combine to match certain colors suggested by the algae. I paint one monochromatic layer of paint on the canvas per day and stop when the canvas appears to be a light absorbing, ruddy black, so that I can discern no change from further accretion of paint. Flaws in the canvas support allow the paint to bleed through the surface in an incidental, patternless manner. While the fronts of these paintings is where I behave as the aquarium “behaves”, the surfaces themselves are inchoate, refusing to speak of pictorial reference beyond an ostensibly black monochrome which if having any sign value is as a sign for the historical black monochrome. The areas where the pigment bleeds through the canvas make the reverse sides appear to resemble, mimetically, the algae covered walls of the aquarium. I decide randomly whether or not to leave the paintings as I painted them or whether to unstretch and reverse them, exposing the side that appears to be subjective but is, in fact, a blind material composition.

The aquarium isn’t a painter’s object like a bowl of pears is or a view from my studio window, a patient sitter in a chair, a photograph of any of these things or even a structuralist allegory is. It is more like a cathedral without a religion. In this way, as a shell for performative inhabitation, it is a vessel for drag. Indistinguishable as a subject or an object I use it as an attempt to drown out any narrative of artistic progress that could be read as a lesson of biographical accumulation. Where my attempt fails to pass is where it exposes my desire to refrain from the courtship games of expressionistic self diarizing.

The exhibitions I’ve made with this work relate to each other as different iterations yet they never seem to resolve an ideal presentation for the work. What is causal in the paintings isn’t necessarily transferable to the expectations of exhibition. There have been arrangements describing the process and content and there have been arrangements that have masked it, mocked it, occasionally undermining whatever delicate potential for meaning might exist there by masochistically repositioning elements of the work as decorative artifice or as functional objectification. Eventually the exhibits come down and I begin again.”

Brand New Gallery – Via Carlo Farini 32, Milan 
September 24 – November 09, 2013

<em>Ryan Mcnamara</em>

Ryan Mcnamara

 

Ryan McNamara, <em>Installation view</em>

Ryan McNamara, Installation view

 

Ryan McNamara, <em>Installation view</em>

Ryan McNamara, Installation view

 

James Krone, <em>Installation view</em>

James Krone, Installation view

 

James Krone, <em>Installation view</em>

James Krone, Installation view