Blurring the line between art and architecture, Dan Graham's pavilions comprise steel, mirror and glass structures that create diverse optical effects. Exploring the process of making something from nothing, Spencer Finch presents a series of works, across a broad range of media, inspired specifically by the actuality of his studio. Jorinde Voigt's large scale works on paper are composed of intricately drawn networks of sweeping arcs, arrows, lines and labels recalling written recordings of sonic vibrations.
29 Bell Street
Lisson Gallery is pleased to announce a show of new works by Dan Graham. One of the world’s most influential conceptual artists, Graham has been investigating the relationship between architectural environments and those who inhabit them since the late 60’s. His very personal and intuitive exploration of architectural space and perception has come to be defined by his pavilions.
Blurring the line between art and architecture, Graham’s pavilions comprise steel, mirror and glass structures that create diverse optical effects. Created as hybrids, they operate as quasi-functional spaces and art installations. Studies of space and light they are situated in public spaces and are activated by the presence of the viewer.
Rigorously conceptual, uniquely beautiful and avowedly public, the pavilions exhibit a deliberate disorientation and playfulness that Graham encourages. After looking at office buildings in the 80’s he began using the same two-way mirror glass used in their construction to create the pavilions. A material that is both transparent and reflective it enabled Graham to deconstruct the surveillance aspect of the material, creating light-hearted situations out of potentially sinister ones; using humour to subvert corporate culture.
Viewers are involved in the voyeuristic act of seeing oneself reflected, while at the same time watching others. Whilst giving people a sense of themselves in space it can also result in loss of self as the viewer is momentarily unable to determine the difference between the physical reality and the reflection. The architecture of the pavilions results in a shift in perceptions; outside to the inside, focus and dissolution, the virtual and the real.
About the artist
Dan Graham (b. 1942) who lives and works in New York, has exhibited internationally at major institutions and exhibitions. Solo exhibitions include Whitney Museum of American Art, New York (2009); Museum of Contempory Art, LA (2009); Kunsthalle Düsseldorf, Germany (2002); Musee d’Art Moderne de la Ville, Paris (2001, 1987); Camden Arts Centre, London (1997); Stedelijk van Abbemusum, Eindoven (1993); Dia Centre for the Arts, New York (1991). Group shows include Museu d ́Art Contemporani de Barcelona, MACBA (2009); Skulpturenpark Koln, Cologne (2009); Stedelijk Museum, Amsterdam (2007, 1982); Tate Modern, London (2005); Centre Pompidou, Paris (2000, 1987, 1986, 1979) Documenta IX, X, 7, 5 Kassel (1997, 1992, 1982, 1972) and Venice Biennale (1976). Selected public projects include Hayward Gallery, London (2006). Dan Graham has also been awarded several prizes including the Coutts Contemporary Art Foundation Award.
52-54 Bell Street
Wonder - is not precisely Knowing. And not precisely Knowing not
Emily Dickinson, 1874
Lisson Gallery is delighted to announce an exhibition by artist Spencer Finch. Exploring the process of making something from nothing, Finch presents a series of works, across a broad range of media, inspired specifically by the actuality of his studio. At the core of Finch’s practice is his on-going investigation into the nature of light, colour, memory and perception: he uses scientific method to poetic effect, examining the mechanics and mystery of perception.
For the large-scale work on paper, Studio Window Infrared (2012), Finch measured the temperature of the studio window by affixing 76 thermometers against the glass. He then translated these temperature ranges into oil pastel by assigning certain temperature ranges to specific colours; an ephemeral sensory experience ultimately concretised in abstract colour.
In Paper Moon (Studio Wall at Night) (2009) a flash light attached to a model train set and a series of filtered bulbs are used to recreate the qualities of the light – street lights and car headlamps - that shines through the windows of Finch’s Brooklyn studio at night. The resulting overlapping shadows transform the gallery walls into Finch’s temporal experience of his crepuscular studio.
Paths Through The Studio (2012) is a series of oil pastel works on paper that map each of Finch’s movements through the studio every morning for 21 days: each path is represented by a different coloured line. Finch found inspiration for the series from an Edo Period Japanese wallpaper design based on the paths through a paddy field. As in much of his work, Finch documents events he has either directly observed or that hold particular historical resonance, distilling these observations into a unique and compelling visual language.
Inherent in Spencer Finch’s work is the tension between the objective investigations of science and the subjectivity of perception and lived experience. His work is endowed with a melancholy that comes from what he describes as “the impossible desire to see oneself seeing”.
In May 2012 Finch will unveil a major public art work on the frontage of The Quadrant 3 building in Soho, London. Commissioned by Modus Operandi and The Crown Estate, the piece will be a graphic expression of the energy of the life within this new development. Like an architectural electrocardiogram, 5 channels of horizontal coloured LEDs connected to five data streams will convey what Finch calls ‘the vital signs’ of life within the building ie:
1) Power Consumption
2) Recycled rainwater usage
3) Hydrogen Fuel Cell (as a % of the total power used)
4) Ambient temperature
5) Lift operations
Finch will unveil another public architectural commission at the Johns Hopkins Medical Centre, Baltimore (Spring 2012) and presents a major exhibition at The Museum of Art Rhode Island School of Design from 24 February to 29 July 2012.
About the artist
Spencer Finch (b. 1962) has exhibited internationally at major institutions. Solo exhibitions include Art Institute of Chicago, Chicago, IL (2011); Emily Dickinson Museum, Amherst, MA (2011); Corcoran Gallery of Art, Washington, DC (2010); Frac des Pays de la Loire, Carquefou, France (2010); Queensland Gallery of Modern Art, Brisbane (2009); Dundee Contemporary Arts, Dundee (2008); MASS MoCA, North Adams, MA (2007). Group shows include: Museum of Contemporary Art San Diego, La Jolla, CA (2011); Folkestone Triennial, Folkestone (2011); Hayward Gallery, London (2010); Solomon R. Guggenheim Museum, New York (2010); 53rd Venice Biennale, Venice (2009); The Whitney Museum of American Art, New York (2004). Selected public projects include High Line public commission (2009) and Park Avenue Armory, New York (2008).
29 Bell Street
Lisson Gallery is pleased to announce the first UK solo exhibition of drawings by Berlin- based artist Jorinde Voigt. Voigt’s large scale works on paper are composed of intricately drawn networks of sweeping arcs, arrows, lines and labels recalling written recordings of sonic vibrations. Referred to by the artist as notations or scores, her work uses a unique visual language to represent subjects such as bass frequencies and musical melodies. The process of Voigt's notation is not merely the mapping, but the construction of a new way of seeing the world in all its complexity, diversity and simultaneity.
Employing concepts and terms from subjects varying from music, to philosophy, to mathematics, Voigt’s work attempts to record the physical world in intense algorhythmic detail. Reminiscent of seismographic or geological readings, the drawings evoke the atmosphere of a rare moment, depicting the multiplicity inherent in concepts of time, space and speed.
Voigt’s work is informed in part by her studies of philosophy and literature, and points to the limitations of these practices; “I felt the study of philosophy was limited by sentences” she explains. Having also studied the cello intensively from the age of nine, Voigt’s artistic interaction with music is an influence in her current work. She says “I knew how the musical score functioned, how it’s meant to be read. It wasn’t hard for me to exchange a note of music for an idea, situation or action.”
For Voigt, the aim of her work is to uncover the truths behind objectivity and subjectivity. Working as a photographer early in her career, Voigt grew frustrated by its claims of being a truthful medium. She says, “I decided to stop photographing and just write down the reasons why I would have done the photographs and the situation I was looking at. I try to look at the structure of things and not at the visual impression.”
About the artist
Voigt (b. 1977) was a nominee for the 2010 Future Generation Art Prize, and winner of the 2008 Otto Dix Prize.
This exhibition will run in conjunction with the previously-announced Lisson Gallery shows, Spencer Finch: Ex Nihilio and Dan Graham: Pavilions from 21st March to 28th April 2012.
Image: Dan Graham, Triangular Pavilion with Circular Cut-Out Variation C, 1989-2001, Two way mirror glass, plain glass, painted aluminium and stainless steel, Courtesy the artist and Lisson Gallery
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Opening 20 march 6-8pm
29 & 52-54 Bell Street London
Opening Hours: Monday-Friday 10am-6pm, Saturday 11am-5pm