While Dodge's work is minimal, it speaks to the larger spectrum of what is always around, what exists anyway, but infuses this 'ordinary' with the desire to be connected to people and places and materials that make up what is around us all the time. Smith explores tacit concepts and memories that many of us ponder, from which the show's title No Words is drawn. The artist examines personal memories as well as collective ones, contemplating her own role within an increasingly multifarious society.
Yvon Lambert Paris is pleased to announce its second exhibition of the American artist Jason Dodge. This show will run concurrently with an exhibition by Shinique Smith. Both exhibitions open with a reception for the artists on Friday, April 2, 2010 from 6-9pm and will be on view until May 12, 2010.
« There is a special kind of quiet between the presence of using something, and the same things left. What is the beginning of the history of a thing, in its raw material, or in its use ».
While Jason Dodge’s work is minimal, it speaks to the larger spectrum of what is always around, what exists anyway, but infuses this "ordinary" with the desire to be connected to people and places and materials that make up what is around us all the time. The artist is not interested in changing things, but re-orienting them in attempt to reveal a force that lies in the unseen history things have.
New works in the exhibition include:
The doctors are sleeping
Dr. med. Jürgen W. Bauer
Dr. med. Axel Jung and Dr. med. Annette Jung are sleeping
Dr. med. Friederich Schmidt-Bleek is sleeping
Pillows that have only been slept on by doctors
Pillows that have only been slept on by doctors lay in the position in which they were slept on. The pillows were made by a seamstress to know exactly the moment, feathers and fabric became pillows.
...the flutes are filled with poison...
The chamber in a flute where air passes through to make a sound is instead, filled with poison - if the flutes identity is the sound it can make when played, when air blown by a person passes through it, then the poison potentially reverses the scenario, removing breath, removing life.
Parts are movable
Or un mov(ed)able
A heater and aquariums are things defined by water the aquarium water is evaporating, while the heater simply lays idle, having never been connected to water manes that run through the street, or to sub-stations that outlay the city distributing power. The heater has no knowledge of the reservoir and aquifers, filters and rainwater, lakes and rivers that flow inland from oceans or the politics that can power lights fro the energy produced by nuclear power plant in Russia, or waterfalls in Holland.
the light carrier
A light illuminates another light, simply by being close to it.
Be the moss-dim yellow light
if only by electric
The room is surrounded by electricity. Separate positive and negative cables have been attached to the wall of the gallery, encircling it, a continuous current, alternating, forward and back. At the end of the line is a note attached. "Be the moss-dim yellow light"
Consists of two baskets made by Ernst Hopf. These mysterious objects sit mute connected by name to their maker, a blind man whose knowledge of them is only from touching them, and while we can see these containers, we are left to only imagine the man who made them whose name, like a point on a map, exists somewhere else, unseen.
Jason Dodge (b. 1969, Newtown, Pennsylvanie) currently lives and works in Berlin. His recent solo exhibitions include: Kunstverein Hannover, Germany, The David Roberts Foundation, London, Berlin, Orange County Museum of Art, Newport Beach and Villa Arson, Nice France.
Jason Dodge will have a solo exhibition at La Galerie, Centre d’art contemporain de Noisy-le-Sec from May 29 to July 24, 2010.
A new book designed by Jason Dodge has been published by Hatje Cantz : Jason Dodge - I Woke Up. There Was A Note In My Pocket Explaining What Had Happened. Eds. Friederike Schönhuth, Kunstverein Hannover and La Galerie, Centre d'art contemporain, Noisy-le-Sec. Preface by Marianne Lanavère and René Zechlin. Introduction by Friederike Schönhuth Texts by Peter Eleey and Catrin Lorch. Poems by Matthew and Michael Dickman and H. L. Hix
Jason Dodge and Yvon Lambert are currently preparing a book for the Collection of artist books edited by Yvon Lambert ‘Une rêverie émanée de mes loisirs’.
Yvon Lambert is pleased to announce Shinique Smith’s No Words, the artist’s first solo exhibition in France. No Words will feature new works by the American artist including several paintings and a sculptural installation. The exhibition will run concurrently with a show by Jason Dodge at the gallery, and both exhibitions will be on view from April 2 until May 12, 2010.
Shinique Smith explores tacit concepts and memories that many of us ponder, from which the show’s title No Words is drawn. The artist examines personal memories as well as collective ones, contemplating her own role within an increasingly multifarious society. Smith repeats bulbous, often spherical elements throughout her work, layering brushstrokes and collage elements with bold colors and fluid lines. Infusing an ardent style owing to Abstract Expressionism and Japanese Calligraphy, the continuity of Smith’s paintings and sculptures combine a graceful spontaneity and an explosive, yet controlled, movement. In each medium the artist utilizes discarded objects, many of which alone lack significance, but collectively possess greater meaning. Integrating intense and vibrantly hued textiles that weave in and out of each work, Smith creates her own form of calligraphic gesture that transgresses the written language.
Mythology, lore, and spiritual imagery inspire the works of No Words. The artist reflects upon myriad physical, psychological, and transcendental theological states including: rapture, which is the mystical experience of transportation to a divine realm, as well as the mystery of consciousness. Smith uses abstraction, color, and material as vehicles to meditate on these ideas; for the artist, the making of these works was partly ritualistic. Her use of the mandala—a pattern ripe with organic, spiritual, and cosmic symbolism—is poignant given the artist’s concerns. The juxtaposition of the natural, including feathers, stones and fresh flowers, with the manufactured, such as beer cans, bricks, and plastic toys, signifies the relationships not only between substances, but also between man and material.
Smith’s work has been exhibited in solo and group exhibitions internationally at venues including The National Portrait Gallery, Washington, D.C.; The New Museum, New York; Deutsche Guggenheim, Berlin; PS 1 Contemporary Arts Center, New York; Denver Art Museum, Colorado; Contemporary Arts Center, New Orleans, Louisiana; Brooklyn Academy of Music, New York; and The Boulder Museum of Contemporary Art, Colorado. She is included in public collections such as The Denver Art Museum, Colorado; The Studio Museum, New York; The Margulies Collection, Miami; The Rubell Family Collection, Miami; and the Maryland Institute College of Art, Baltimore.
Please contact Geneva Jann-Lewis with any press inquiries
Image: Shinique Smith
Opening Friday April 2 from 6-8 pm
108 rue Vieille du Temple, Paris
Tuesday-Friday 10am - 1pm, 2:30 pm - 7 pm
Saturday: 10am - 7 pm