Warren Neidich: Earthling 2 + Linda Aloysius and Alexis Harding
Warren Neidich: Earthling 2
For the past twenty years, Warren Neidich has been working with collage, re-enactment, dramaturgy and improvisational methods to create a body of work that investigates new forms of time and space as they manifest themselves as apparati in the production of new forms of subjectivity. Photography and video/film are his preferred media for this investigation - photography because it documented and defined new forms of space; Film/Video because it produced new forms of time (as encountered in, for example, the triple screen films of D. W. Griffith or the collaged time of DzigaVertov) Also interfacing with the ideas of art historians and cultural critics such as Jonathan Crary, Fredrick Jameson, E.H. Gombrich, and Aby Warburg, Neidich‚s project has evolved from what he first called The Mutated Observer, [California Museum of Photography, 2002] into what he now calls Earthling.
The Andrew Mummery Gallery is pleased to present in the UK for the first time photographs from Neidich's Earthling 1 series, alongside two from his latest body of work, Earthling 2, which were made in London at The Market Cafe', Spitalfields and Cafe' Hookah, Brick Lane.
Linda Aloysius and Alexis Harding
In my work I wrestle with the question of what it means to live today. I draw upon my everyday thoughts and feelings, linking my subjective experiences to greater philosophical concerns of Time, Existence and Being. I grapple with how these enduring concerns are contemporised by today's climate - one that is engorged with Lifestyle Aspiration, Celebrity, New Technologies and Mass Consumer Fetishism. In this way, I offer a critical take on post-modern life, ultimately utilising my own subjectivity to evidence and defiantly uphold the sense of authentic humanity and of independence of thought and being that is increasingly sublimated by the indoctrinating effects of post-modern living.
With the surface as the prime place of meaning, Alexis Harding sets up imagery that appears fleeting; caught between fixity and motion, it is like a fragment of implicit installations. The most radical dimension of the artist's attitude is to permit the image to spill beyond the coordinates of the surface itself as if daring miscegenation between his promiscuous materials and light, air and space to create new imagery. In recent years the artist's extractive process (rather than being a subtractive or sculptural one) has resulted in boundaries being deliberately widened to permit transgression from wall to floor. In this way, Harding proposes painting at its most real and knowable. The traditional opposition in abstraction of geometric and organic is supplanted by trajectories, fluxes and flows that allude both to the passage of time and, ironically, its suspension. Holding back the natural progression of the surface out into the space beyond the framing edge is like an act of will, a gargantuan intake of breath intended to halt a feared calamity accompanying the arrival of the next minute, to arrest evanescence.
Martin Holman. From Twisted into True, essay published in Alexis Harding, catalogue of the artist's solo show at the Rubicon Gallery, Dublin (2006) (c) Martin Holman.
Andrew Mummery Gallery
Studio 1.02 - Tea Building
56 Shoreditch High Street (Entrance is on Bethnal Green Road) - London
Open Wednesday to Saturday, 12-6pm and by appointment.