Brendan Lynch
16 May - 12 Jul 2014
© Brendan Lynch
DVF x HVN #1, 2014
Oil and censored signature on wood panel
47.64 x 35.83 inches
Pièce unique
DVF x HVN #1, 2014
Oil and censored signature on wood panel
47.64 x 35.83 inches
Pièce unique
BRENDAN LYNCH
16 May - 12 July 2014
HVN will smile at Brendan LYNCH and ask how he is. He already knows how she is - or at least what she's doing, who with, and where. (Currently) 51k others know too.
@_brendan_lynch_ buys followers, comments, likes. He is not the ideal client ; we won't find him in her target audience, but he checks, clicks, gets re-directed, orders.
You can spend time and buy allure. What's hers can be ours.
The starting point of Brendan LYNCH (born in 1985 in Los Angeles, lives and works in Brooklyn) second exhibition at the gallery is a real-life character, a praised taste-maker and dj. LYNCH uses this young woman's taste as a point of departure for creation.
Three sculptures titled Website1, Website 2, and Website 3, include objects that she features on her website, ranging from designer dresses by Christopher Kane or Colette Dinnigan, to cheaper, kitschy objects, like a set of pattern blade ceramic kitchen knives from Target.
In the artist's own words, instead of using objects that he responds to or that fit with his own taste, he chose objects from a really specific source that already contain their own stories, their own history, and their own sense of meaning. Her choices are the raw material of his sculptures.
In the installation Welcome, a few more objects entirely molded in Magic Sculpt lie on a leopard carpet –a pattern that she seems to like wearing. The objects are almost unrecognizable (there is a cup, a mug or a vase, and something that is in fact an Eiffel Tower ring dish). They relay back to LYNCH's earlier works, where the mass produced have a chance to become unique.
A series of seven "oil and censored signature on wood panels" stem from a logo that the young woman created on the occasion of a collaboration with a famous fashion designer –a black cat, inspired by her own. As much as the selection of things that she recommends on her website, this logo shares with us her esthetic choices and defines her image.
Two months prior to the exhibition, LYNCH started an Instagram account (@_brendan_lynch_), which will stop when the show opens. The account works as a sort of catalog to the exhibition –something between a zine and a performance that allows the exhibition to not only exists in one space at one time, but also happens in another part of the world, in another context. The account mirrors our subjects Instagram account with an inflated number of fake followers who like and comment in order to create an illusion of popularity.
The goal of the exhibition is not to function as a final statement, but the beginning of a conversation.
16 May - 12 July 2014
HVN will smile at Brendan LYNCH and ask how he is. He already knows how she is - or at least what she's doing, who with, and where. (Currently) 51k others know too.
@_brendan_lynch_ buys followers, comments, likes. He is not the ideal client ; we won't find him in her target audience, but he checks, clicks, gets re-directed, orders.
You can spend time and buy allure. What's hers can be ours.
The starting point of Brendan LYNCH (born in 1985 in Los Angeles, lives and works in Brooklyn) second exhibition at the gallery is a real-life character, a praised taste-maker and dj. LYNCH uses this young woman's taste as a point of departure for creation.
Three sculptures titled Website1, Website 2, and Website 3, include objects that she features on her website, ranging from designer dresses by Christopher Kane or Colette Dinnigan, to cheaper, kitschy objects, like a set of pattern blade ceramic kitchen knives from Target.
In the artist's own words, instead of using objects that he responds to or that fit with his own taste, he chose objects from a really specific source that already contain their own stories, their own history, and their own sense of meaning. Her choices are the raw material of his sculptures.
In the installation Welcome, a few more objects entirely molded in Magic Sculpt lie on a leopard carpet –a pattern that she seems to like wearing. The objects are almost unrecognizable (there is a cup, a mug or a vase, and something that is in fact an Eiffel Tower ring dish). They relay back to LYNCH's earlier works, where the mass produced have a chance to become unique.
A series of seven "oil and censored signature on wood panels" stem from a logo that the young woman created on the occasion of a collaboration with a famous fashion designer –a black cat, inspired by her own. As much as the selection of things that she recommends on her website, this logo shares with us her esthetic choices and defines her image.
Two months prior to the exhibition, LYNCH started an Instagram account (@_brendan_lynch_), which will stop when the show opens. The account works as a sort of catalog to the exhibition –something between a zine and a performance that allows the exhibition to not only exists in one space at one time, but also happens in another part of the world, in another context. The account mirrors our subjects Instagram account with an inflated number of fake followers who like and comment in order to create an illusion of popularity.
The goal of the exhibition is not to function as a final statement, but the beginning of a conversation.