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1/6/2006

Stock Exchange

Art Exhibition Link, Chicago

6 esposizioni di 6 artisti di Chicago-correllate tra di loro- pronte ad essere presentate in Europa da ARTexhibitionlink.com.

Con questa esposizione curata dagli artisti prende il via il progetto Stock Exchange, che si trasferira´in Europa nel 2007. Dal comunicato stampa inglese: Mankind at the beginning of the 21st C.: Ambition and success at all costs, inconsiderateness, physical and emotional violence towards the self and others. Cameron Crawford studies these conditions of (un)social life and visualises them in tiny and thus particularly disturbing installations. Wood or rodent poison are gathered and glued to small-scaled scenes of despair: A manikin creeps under the table, searching for shelter. Although routine exercise in several countries, it is an absurd act in view of the destructive power, whatever the threatening danger may be. Humans are more fragile than ever, but defenceless, they injure one another with unsurpassed brutality.

Miniature chairs, disarranged in chaos, are made of yellowish granular rat poison, an especially perfidious poison, because killing excruciatingly and time-delayed. These are scenes of hopelessness with a shade of cynicism, reminding the mortality of everyone, the insignificance of our poor and short lives, the impossibility to change the inhuman conditions. In view of the transitoriness of life, accumulating money or other things appears absurd. A cardboard box: What is worth archiving? In archaeology, the chance of precise reconstruction is augmented by literary sources, found by fluke. But the sheets of paper, the meticulous storage Cameron Crawford assembled for one of his installation gives no information, the sheets are blank. No hint, no answer, but: futility of the moment, meaninglessness of life? Cameron Crawford’s newest project ‘Protagonist Exhibitionist Liar' will be an extension of his research - in terms of archaeology: survey - illuminating similar questions in an installation with interrelating drawings, using ink and shellac: ‘My new work will put a person in the room; a protagonist, an exhibitionist, a liar. My new work will wonder whether objects or people point more directly to mortality.’ - Cameron Crawford

You don’t have to dig in the ground to do archaeology. Artefacts and reminiscences of human culture permanently are left on the way like traces, vestiges documentating human life and its social conditions. Cameron Crawford, somehow, practises archaeology concerning the youngest past and, in a frightening and anticipating way, maybe the future. Abandoned and deserted interiors, chairs, cups and coat hangers give evidence of recent animation, of everyday life. Where have the people gone? Were they dispersed by a natural disaster, a volcanic eruption petrifying life like in Pompeii, or an anthropogenic catastrophe like in Chernobyl or Hiroshima? What is to come? Nuclear weapons constantly ready for takeoff … Mankind at the beginning of the 21st C.: Ambition and success at all costs, inconsiderateness, physical and emotional violence towards the self and others. Cameron Crawford studies these conditions of (un)social life and visualises them in tiny and thus particularly disturbing installations.

Wood or rodent poison are gathered and glued to small-scaled scenes of despair: A manikin creeps under the table, searching for shelter. Although routine exercise in several countries, it is an absurd act in view of the destructive power, whatever the threatening danger may be. Humans are more fragile than ever, but defenceless, they injure one another with unsurpassed brutality. Miniature chairs, disarranged in chaos, are made of yellowish granular rat poison, an especially perfidious poison, because killing excruciatingly and time-delayed. These are scenes of hopelessness with a shade of cynicism, reminding the mortality of everyone, the insignificance of our poor and short lives, the impossibility to change the inhuman conditions. In view of the transitoriness of life, accumulating money or other things appears absurd. A cardboard box: What is worth archiving? In archaeology, the chance of precise reconstruction is augmented by literary sources, found by fluke. But the sheets of paper, the meticulous storage Cameron Crawford assembled for one of his installation gives no information, the sheets are blank. No hint, no answer, but: futility of the moment, meaninglessness of life? Cameron Crawford’s newest project ‘Protagonist Exhibitionist Liar' will be an extension of his research - in terms of archaeology: survey - illuminating similar questions in an installation with interrelating drawings, using ink and shellac: ‘My new work will put a person in the room; a protagonist, an exhibitionist, a liar. My new work will wonder whether objects or people point more directly to mortality.’ - Cameron Crawford CAMERON CRAWFORD is from Seattle, Washington. He received his BFA from the School of Art Institute of Chicago. He currently lives, works and exhibits in Chicago. His work has been recently shown at Three Seasons Gallery and Around the Coyote Gallery.

Opening: 2 June 2006

ARTexhibitionLink, Gallery UNO - Chicago
Fine Arts Building, 410 S Michigan Av

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