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1/8/2008

SNO 40

SNO Contemporary Art Projects, Sydney

Lynne Eastaway
Sophia Egarchos
Giles Ryder

Sound Program: Jaap Blonk

"Tilt
New paper works (April-June ‘06). How does large square (generally not tilted) relate to the smaller, often tilted square. Physical weight is generally earth bound and closed, though still active in its intent towards the world. One still, one actively moving but at other times subjugated to the dominance of the large square. Implied monumentality."
Lynne Eastaway, extract from Refinement/Honing of Parts Towards the Whole, 2008 ('right click' to download full text).

"It is clear that Egarchos's specifically non-figurative discourse on ‘fabric’ in her practice, despite being hand painted on canvas, evinces a raft of traditions within a contemporary engagement. But what some may find more interesting at present is that Egarchoz seemingly cooperates with the idea of an alternate modernism in revolution.
This remains an almost forgotten discourse, a ‘real’, even radicalised ideation that the recent Sydney Biennale worked hard to formally present."
Billy Gruner, extract from Colour Against Colour, Form Against Form, 2008 ('right click' to download full text).

Giles Ryder's practice extends historical notions of reduction (of form, space, line and material), colour (visual, as signature, and psychological effects) and furthers the experiential qualities of painting. His work explores the idea of the readymade pitched against 'customisation'. This pairing, or duality, can be seen in the pearlescent pigment and auto lacquer paintings on aluminium; the light works with readymade neon; and the monochrome, mirror works. Ryder's practice generally activates the spectator within the space of the artwork by the reflective and light producing qualities of his objects, merging perceptions of site, artwork and viewer.

In 1979, Jaap Blonk first heard Kurt Schwitters' Ursonate as read by Dutch actor Hans Hausdorfer. Over the following years he took to learning the piece by heart, bit by bit, in such a way that each segment acquired an individual meaning for him. For a long time, the Schwitters estate did not give permission to issue recordings of his works. Only in 2002 the ban was lifted and the performing and publishing rights were turned over to a foundation based in the Sprengel Museum in Hannover, the Kurt und Ernst Schwitters Stiftung. This meant that, finally, Blonk's 1986 studio recording could be made available to the public.

Opening august 2, 2008

SNO Contemporary Art Projects
175 Marrickville Road - Sydney

stampa

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