calendario eventi  :: 

X

21/2/2014

Two exhibitions

Marlborough Chelsea, New York

Michel Auder: Video Pieces

“I am leaving in Brooklyn its the end of the world...” ( Michel Auder)
It’s nothing. It will never be here again. That thing that left the world.... That thing never came back again. It came back one time but it wasn’t the same thing.
--Alex’s monologue in Michel Auder, Talking Head, 1981, Edited 2009 (1⁄2” reel to reel video to digital video SD, black and white, sound, 02:27 minutes)
I’m not asking you about your overlays of memories, like the overlays of culture in Europe, culminating in a decayed sea- side hotel whose walls peel away from themselves into the literature they think is supporting them. I’m asking you what you know.”
--Kathy Acker, Don Quixote, (New York: Grove Press, 1986)
What Michel Auder knows is that overlays of time, memories—the now and then of it—temporally and technologically, all collapse and dissolve when you just live your life. The works included are records of doing that. Living. What he and we all do now with our phones, record it, he’s been doing since the introduction of the Sony Portapak in the late 1960s. So he’s better at it. Which is also a great thing to know.
Of the ‘vintage’ works included, or works utilizing his own vintage footage, 48 Hours In 8 Minutes, 1978 (Super 8 f ilm to digital video SD, color, silent, 08:26 minutes) gives us compressed time of Auder look ing at himself with a Super 8 camera, in bed with Bengal tiger sheets, sleeping, doing blow, on the phone, talk ing, sleeping, fooling around, eating, reading, drink ing. Blind Sex, 1983, Edited 2009 (1⁄2” Betamax video SP to digital video SD, color, sound, 05:16 minutes) showcases New York City in the early 1980s—street scenes, hookers on Delancey Street shot from a window, West Broadway, back to Delancey with a videotape glitch, radio soundtrack, hooker convincing a john into a hotel, guy helping a woman across the street, john walk ing around seeming happy enough. And Chronicles Morocco, 1971-1972 (1⁄2” reel to reel video to digital video SD, black and white, sound, 26:33 minutes) provides a seconds-long glimpse of Viva and their baby Alex, then becomes a travelogue of camels, donkeys, children, builders building and posing for the camera, music, a guy mak ing a lot of noise, showing off, shoving eggs into his underpants, showing his dick, ripping the head off a bird, cook ing it, and then seemingly Auder and his friends eat it.
Like all of Auder’s work, these pieces rely on a practice of rigorous editing from extensive volumes of material. His illusory images are conscientiously rendered minutiae, anthologized fragments drawn from an archive of spontaneous footage. If his early f ilm works were recklessly idiosyncratic, they also serve to foreshadow Auder’s subsequent decades of casting dramas from his lived experience, and provide him a means to structure other wise uncomposed moments of life. Encompassing the complex range of methodologies that characterize Auder’s work to date, more recent videos rely heavily on newly available digital technologies. Made primarily with an iPhone, they respond to the increased anonymity/ surveillance of social media and the Internet, and situate Auder, ref lectively, in the present—an artist left to his own devices. Do You Love Me? 2013 (mini-dv and phone video to digital video SD, color, sound, 10:38 minutes) begins with folding a letter, time folding. It looks enough like Morocco or Vanuatu or upstate—far away and near. Here is what it says: a toast with Jonas Mekas, k itchens, dinners, back yards, k ids playing in the mud, real babies, fake babies, hornets, spiders, bees, rabbit in a snow globe, naked boys, naked men, a crashed plane, his apartment on f ire and Kembra in red body paint, overlays of art and life, eating, swimming, “Tongue K iss,” rain, snow, f ire, birds, a clown, dramatic and mundane landscapes, k ids’ voices, Do You Love Me?
To say that these works feature interests and techniques that Auder revisits throughout his career is at a certain point a given. Using his camera (mobile phone, handheld, underwater device) as a voyeuristic tool, he provides strangely intimate portraits of his world, at times of unwitting neighbors, and always of himself. Bizarrely epic in scale, his Endless Column, 2011 (phone video to digital video HD, color, sound, 18:21 minutes) approximates what many people seemingly do all the time—whizz through their inexhaustible albums of digital pictures, trying to locate something. But Auder’s rehearsed yet manic typing fast through segments of his life instead locates him.
Train tracks, travel, Jelena and Zlato, Jelena and Ruta, us, masks, Lucien, the phone buzzing, Jelena’s studio, same bunny in a snow globe, self portrait, studio, himself and others typing, lost tooth, weather, boxes, the layout of his book, “what will you do when I die,” Marisa, Christmas cookies, mail, computer screens, Femlins!, baking cookies, wine spill, me and Tom, Breyer P-Orridge, Timothy Carey, Jennifer Miller, Vaginal Davis, Marisa and Zlato, moving the studio, fire on East Houston, signs saying “NO” to dumping, trespassing, eating, smoking, “Night Repair,” home of the brave, no signal, Rona’s show, “Man with a Camera,” flowers, art shows, installations, videotapes, plans, “the advantages of being a lesbian artist,” grandkids, spiders, me trying on clothes, rubber duck, cats, “A Coupla White Faggots Sitting Around Talking,” a pause, Michel Auder’s show....
- Lia Gangitano

Michel Auder was born in Soissons, France and lives and works in Brooklyn, NY. He has been working in video since the inception of the Sony Portapak around 1968. He has screened and exhibited his work extensively, nationally and internationally. Recent solo exhibitions include Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder, Kunsthalle Basel, Basel, Switzerland (2014); Screen Life #13 & Polaroid, Office Baroque, Brussels, Belgium (2014); Portrait of Michel Auder, Culturgest, Lisbon, Portugal (2013); Language is Only a Word and I’m so Jealous of Birds, NoPlace, Oslo, Norway (2011); Dinner Is Served, Art Unlimited, Art 42 Basel, Switzerland (2011); The World Out of my Hands, Lund Konsthall, Sweden (2011); Dinner is Served, Krabbesholm, Skive, Denmark (2010); and Keeping Busy: An Inaccurate Survey of Michel Auder, Zach Feuer Gallery, Newman Popiashvili Gallery & Participant Inc, NY & Volume2, Los Angeles (2010). Auder’s solo screenings include dOCUMENTA, Kassel, Germany (2013); Intimate Stranger, Anthology Film Archives, New York (2010); and Retrospective at 11th Biennial of Moving Images, Geneva, Switzerland (2006). His film, The Feature, made with Andrew Neel, was screened at the Museum of Modern Art, New York (2009); as well as the Berlin, London, and Denmark Film Festivals in 2008.
He has had solo exhibitions at Kayne Griffin Corcoran Gallery, Santa Monica (2012); Galleria Fonti, Naples, Italy (2011); Cubitt, London (2009); and Yvon Lambert, Paris, France (2007); and his work has been included in exhibitions such as the 2nd Athens Biennial, Athens, Greece (2009); and the 5th Berlin Biennial, (2008). In 2002, Auder had two retrospectives, Michel Auder: Retrospective 1969-2002 at The Renaissance Society at the University of Chicago and Michel Auder: Video, Film, Photography 1969-2001, at Rooseum Center for Contemporary Art, Malmo, Sweden. Auder will have a solo exhibition at De Hallen, Haarlem, The Netherlands in 2014 and participate in the 2014 Whitney Biennial.

----

Far Out!
group exhibition by artists Jamian Juliano-Villani, Erik Parker and Peter Saul

This exhibition explores the multi-generational inf luence and shared affinities of New York-based painters Peter Saul, Erik Parker and Jamian Juliano-Villani. Saul’s color-drenched grotesques emerged out of the same heady stew that produced the underground comix revolution, and this imagery and inclination has metastasized in the work of Parker, his former student. Parker’s inf luence, in turn, has been refracted in his former studio assistant Juliano-Villani continuing what now amounts to a burgeoning mini-tradition in style, mood and provocative subject matter. Art-historical referents meet lurid pop sources and are rendered in a juiced up palette that challenges even our advertising-addled brains. Virtuoso painting skills wrestle with the lewd and crude, but also with the transcendent and truly weird American subconscious. In defiance of the pervasiveness of oblique abstraction across each of the artists’ generations, these works, above all, are freighted with content, both direct and associative.

Jamian Juliano-Villani (b. 1987)
Jamian Juliano-Villani was born in Newark, New Jersey and received her BFA from Rutgers University in 2011. She currently lives and works in Brooklyn, New York. Selected exhibitions include Me, Myself and Jah, Rawson Projects, Brooklyn, NY (2013); Time Machine, Galerie Sho Contemporary Art, Tokyo, Japan (2013); Petrella’s Imports at Suzanne Geiss Company, Suzanne Geiss Company, New York, NY (2013); Style Points and Substance Pangs, Tiger Stikes Asteroid, Philadelphia, PA (2013); Deep Cuts, curated by David Humphrey and Wendy White. Anna Kustera Gallery, New York, NY (2013); and Division 169, curated by Justin Adian and Wendy White. Rawson Projects, Brooklyn, NY (2012).

Erik Parker (b. 1968)
Erik Parker was born in Stuttgart, Germany, and studied at the University of Texas, Austin with Peter Saul before receiving his master of f ine arts from Purchase College of the State University of New York. He was included in the f irst “Greater New York” show at P.S.1 in 2000 and has had recent solo exhibitions at Paul Kasmin Gallery in New York, NY; The Cornerhouse Gallery in Manchester, England; De Appel in Amsterdam; the Modern Art Museum in Fort Worth, TX; Colette in Paris; Honor Fraser in Los Angeles; and Galleri Faurschou in Copenhagen, Denmark.

Peter Saul (b. 1934)
Peter Saul was born in San Francisco, California, and studied at the California School of Fine Arts from 1950 to 1952 and at Washington University in St. Louis from 1952 to 1956. Peter Saul lives bet ween New York City, and Germantown, New York. Recent solo exhibitions include Paintings from the 60s and 70s, Mary Boone Gallery, New York, NY (2013); Neptune and the Octopus Painter, VeneK lasen Werner, Berlin, Germany (2013); and Peter Saul/Jim Shaw: Drawings, Mary Boone Gallery, New York, NY (2013). Recent notable group exhibitions include Marcel Duchamp’s ‘ Nude Descending a Staircase’: An Homage, Francis M. Naumann Fine Art, New York, NY (2013); Sinister Pop, Whitney Museum of American Art, New York, NY (2012); Pretty on the Inside, Paul Kasmin Gallery, New York, NY (2011); and Ordinary Madness, Carnegie Museum of Art, Pittsburgh, Pennsylvania (2010).

Image: Michel Auder

Opening reception on Friday February 22nd 2014 at 18-20

Marlborough Chelsea
545 West 25th Street, NY
Opening hours: Tuesday - Saturday, 10am-6pm, and by appointment
Free admission

stampa

permanent link