Three exhibitions
dal 19/3/2012 al 27/4/2012
Segnalato da
19/3/2012
Three exhibitions
Lisson Gallery, London
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.
Dan Graham
Pavilions
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.
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Spencer Finch
Ex Nihilo
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).
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Jorinde Voigt
KONNEX
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
For press information and images please contact: Toby Kidd or Filipa Mendes at JB Pelham PR, Tel: +44 20 8969 3959.
Email: toby@jbpelhampr.com or filipa@jbpelhampr.com
Opening 20 march 6-8pm
Lisson Gallery
29 & 52-54 Bell Street London
Opening Hours: Monday-Friday 10am-6pm, Saturday 11am-5pm
Admission free