Michael Wang
06 - 14 Jan 2012
© Michael Wang
Gerhard richter,
4900 Colours, Version II, 2007, Carbon Copy, 2012
-0.62 tons CO2
Photograph by Mark Woods
Gerhard richter,
4900 Colours, Version II, 2007, Carbon Copy, 2012
-0.62 tons CO2
Photograph by Mark Woods
MICHAEL WANG
Carbon Copies
6 - 14 January, 2012
Foxy Production presents Carbon Copies, Michael Wang's inaugural New York solo project. Wang uses systems that operate on a global scale as media for art: the global economy, the mass media, species distribution, and climate change become sites for aesthetic intervention.
In Carbon Copies, Wang uses twenty contemporary artworks as his referents to produce a series of delicately crafted sculptural forms. The forms' dimensions are determined by the carbon footprint made during each original artwork's production. These copies are paired with certificates that guarantee the offset of the original carbon footprints; together, they become artworks within the economy the artist has conceived.
Merging Institutional Critique and Land Art, Carbon Copies takes the contemporary art system and the atmosphere itself as both media and subjects. As art occupies an almost limitless terrain, the tools of its critique need to traverse a global space to make its invisible structures visible. Wang creates a speculative art economy, where each transaction both represents and negates the unrepresented energies that go into the making of an artwork.
MICHAEL WANG (Olney, MD, 1981) lives and works in New York City. He holds a Masters in Architecture from Princeton University, an MA from NYU, and a BA from Harvard. Wang has worked as an artworld events reporter, taught with the architect Peter Eisenman at Yale, and consulted for some of the world’s largest corporations. His works include speculative proposals for the World Economic Forum conference hall in Davos, Switzerland; and “Invasives”, the controlled release of invasive species. Selected exhibitions include: Primetime Gallery, Brooklyn (2010); Asia Song Society, New York (2008); and Rivington Arms, New York (2007). His critical writings have appeared in Artforum, The Architect's Newspaper, and Modern Painters.
Thanks to Pinar Yolacan, and Vecteur Carbone, Paris.
Carbon Copies
6 - 14 January, 2012
Foxy Production presents Carbon Copies, Michael Wang's inaugural New York solo project. Wang uses systems that operate on a global scale as media for art: the global economy, the mass media, species distribution, and climate change become sites for aesthetic intervention.
In Carbon Copies, Wang uses twenty contemporary artworks as his referents to produce a series of delicately crafted sculptural forms. The forms' dimensions are determined by the carbon footprint made during each original artwork's production. These copies are paired with certificates that guarantee the offset of the original carbon footprints; together, they become artworks within the economy the artist has conceived.
Merging Institutional Critique and Land Art, Carbon Copies takes the contemporary art system and the atmosphere itself as both media and subjects. As art occupies an almost limitless terrain, the tools of its critique need to traverse a global space to make its invisible structures visible. Wang creates a speculative art economy, where each transaction both represents and negates the unrepresented energies that go into the making of an artwork.
MICHAEL WANG (Olney, MD, 1981) lives and works in New York City. He holds a Masters in Architecture from Princeton University, an MA from NYU, and a BA from Harvard. Wang has worked as an artworld events reporter, taught with the architect Peter Eisenman at Yale, and consulted for some of the world’s largest corporations. His works include speculative proposals for the World Economic Forum conference hall in Davos, Switzerland; and “Invasives”, the controlled release of invasive species. Selected exhibitions include: Primetime Gallery, Brooklyn (2010); Asia Song Society, New York (2008); and Rivington Arms, New York (2007). His critical writings have appeared in Artforum, The Architect's Newspaper, and Modern Painters.
Thanks to Pinar Yolacan, and Vecteur Carbone, Paris.