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1/5/2015

Michael E. Smith / Erika Verzutti / Magali Reus

SculptureCenter, New York

Michael E. Smith

SculptureCenter is pleased to announce Michael E. Smith's first major solo museum exhibition in the United States. The exhibition will present new works created specifically for SculptureCenter's lower level galleries. These new sculptures and videos further Smith's investigation into the complex existence of things.

Many of the objects in Smith's sculptures are decelerated and slackened until they reach a trancelike state. Sometimes frozen, and sometimes literally or figuratively spurned into action, though actual movement or in association to other objects or images, the primary function of the everyday things we encounter in his work is interrupted and reconfigured. These periodic suspensions of movement and time only serve as reminders of the inherent rhythms of things and bodies. To articulate this further, Smith has created new video works in addition to the sculptures that will be on view. Highlighting the physiological qualities of machines, they isolate and intensify a range of internal mechanisms.

The works on view respond to the subterranean architecture of the lower level exhibition galleries, abstractly examining notions of history and functionality. Smith's installation shifts the given conditions and atmospheres at SculptureCenter, presenting a space that reassess relationships maintained within our inner and outer worlds.

Smith (born 1977 in Detroit) is based in Hopkinton, NH has had solo exhibitions at La Triennale in Milan, Italy (2014), CAPC museé d'art contemporain de Bordeaux, France (2013), and CAM St. Louis (2011). Recent group exhibitions include humanonhumain at Foundation D'Enterprise Ricard, Paris, France (2014), Being Here & Being Thus. Sculpture, Object & Stage at Frankfurter Kunstverein, Frankfurt, Germany (2014), Realization is Better than Anticipation at MOCA Cleveland (2013), A Disagreeable Object at SculptureCenter (2012), and the Whitney Biennial (2012).

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Erika Verzutti
Swan with Stage

Erika Verzutti will present a new body of sculptures and images in her first solo exhibition in New York City. Working between synthetic and organic materials, Verzutti creates hybrid objects and situations that interrogate relationships between forms and bodies.

The centerpiece of the exhibition, a twelve-foot-tall abstract swan sculpture, functions as monument, character, and stage. Enclosed by a group of black and white photographs, the sculpture is not only a prop, but also a co-star in some kind of a play that has taken place. The images feature an actor and the swan snapped in various moments of drama and comedy, never culminating in a complete narrative.

Verzutti's exhibition is primarily composed of new works, including Swan with Stage and the related photographic series. In addition Verzutti has remade several of her bronze works, incorporating the color blue in each revision. Blue is an arbitrary color choice, although the decision to include it is deliberate. Sharing blue in common, the color creates its own variation, operating differently on each sculpture, becoming more distinct through its comparison.

Verzutti (born 1971 in São Paulo, Brazil) is based in São Paulo and has had solo exhibitions at the Tang Museum at Skidmore College, Saratoga Springs, NY (2014) and the Centro Cultural São Paulo, Brazil (2013). Group exhibitions include the 56th Carnegie International, Carnegie Museum of Art, Pittsburgh (2013), the Mercosul Biennial, Porto Alegre, Brazil (2013), and the 11th Biennale de Lyon, Lyon, France (2011).

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Magali Reus
Spring for a Ground

SculptureCenter is pleased to announce Magali Reus will present a new body of work co-commissioned by SculptureCenter, the Hepworth Wakefield in Yorkshire, UK, Westfälischer Kunstverein in Münster, Germany, and the Fondazione Sandretto Re Rebaudengo in Turin, Italy. Spring for a Ground will be Reus' first solo museum exhibition in the United States.

Colliding the macro logic of daily architecture with the more microscopic or metaphorical projections of a body inhabiting space, Reus' exhibition turns focus to the physical and psychic space of the street curb. Although rendered abstractly, Reus' curbs contain fragments of objects and textures: they appropriate the logic of urban terrain but remain unnerving in their persistent repetition of partially rendered, and uncannily placed domestic forms. Linked with the metaphorical idea of an epidermis, they are surface barriers between external and internal worlds.

A new series of smaller sculptural "lock" works expose a perversity of mechanical detail. Like archaeological markers, these works become enigmatic containers for a type of numerical shorthand that evades translation. A date or a time enlists structural responsibility, but as with the curbs, they create a perplexing collapse of boundaries, blurring the graphic and the emotional.

Magali Reus (born 1981 in The Hague, The Netherlands) is based in London, UK. Recent group exhibitions include The Noing Uv It at the Bergen Kunsthall, Bergen, Norway (2015); Theater Objects at the LUMA Foundation, Zurich, Switzerland; nature after nature, Fridericianum, Kassel, Germany; and Pool, Kestnergesellschaft, Hanover, Germany (all 2014). Reus has a forthcoming solo exhibition at The Stedelijk Museum, Amsterdam, The Netherlands in 2016.

Image: Michael E. Smith

Press contact:
Ben Whine, Associate Director, call 718.361.1750 x 117 or press@sculpture-center.org

Opening Event: Saturday, May 2, 2015 6–8pm

SculptureCenter
44-19 Purves Street Long Island City, NY, USA
Hours
Thursday - Monday, 11am - 6pm
Closed Tuesdays and Wednesdays.
Admission
There is a $5 suggested donation for entry, $3 for students.

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