Event InformationWHen: NOV 11TH - 12TH 2018
Where: STUDIO 525 WEST 24TH STREET
This exhibition is curated by Elisabeth Johs, a MA in Contemporary Art student at Sotheby's Institute of Art – New York.
The proposed current geological epoch, in which humans are the primary cause of permanent planetary change.
The anthropocene is distinguished as the period in which the collective activity of human beings began to substantially alter earth’s surface, oceans, systems of nutrient cycling, and atmosphere. The term suggests that the earth is moving out of its current geological epoch, called the Holocene, and that humans and our activity on earth is largely to blame. Humankind has become a global geological force in its own right.
Fact and responsibility have deliberately been blurred; we are unsure who to make culpable and who is capable of working to rectify the situation. Industrialization, globalization, artificial intelligence, climate change, and the limits of the human are the foundational concepts for these works and the exhibition. The exhibition invites its viewers to enter into this dialogue.
Paul Bashour (1975, Ohio, USA) paints horizontally on saw horses without a brush or easel. Using a trowel and his hands, he throws, pours and spreads in layer after layer, creating a sculpture on canvas. He uses mixed media including recycled strips of left-over canvas and acrylic paint, mixing the elements on the canvas. The process results in abstract creations that seem to move off the wall with of their own agency. He uses his materials to create systems of layers on the canvas.
Dominik Lejman (b. 1969, Gdańsk, Poland.) The experience of art works by Dominik Lejman intimates a creative sense of aesthetic displacement, and not least his immediate use and challenging dismissal of outdated ideas of what constituted arguments and/or distinctions between the temporal and the spatial. Lejman operates within a unique time-space interstice that embraces film and painting and the photographic image, while at the same time retaining a highly personal and pictorially synthetic disposition that grounds his wider use of film and painting in his artistic practice. His use of film and painting take on a dialectical presence through his use of paradoxical, substantial and insubstantial images. They are substantial in terms of a material surface as presence and insubstantial as regards the use of immaterial projection. Lejman generates a performance-related and intentionally processed conceptual visual presentation; the artist calls it “staging rituals”, yet there is a displaced mental state of experiential aporia, a residual position of philosophical and self-reflexive rhetorical puzzlement.
Claudia Vieira (b. 1964, Porto Alegre, Brazil) addresses the aspects of the ‘individual’s feelings of impotence about our collective impact on our environment. Her architectural Topographies, a series of drawing environments, is an act of connection between body and space. The artist’s gesture rises to the surface, thereby blending her body into the architecture. This action exemplifies Vieira’s responding to drawing as the most direct expression to thought. Whether Vieira makes use of pen, tape, ink or charcoal, her distinctive qualities are highlighted by the empirical relationships of her body with the surroundings and the recording of time lived.
Image source: www.saatchiart.com