Seven / Video
02 - 11 May 2014
With a special tribute to Hudson
2 – 11 May, 2014
MELANIE BONAJO (P•P•O•W) • DANIEL CANOGAR (bitforms gallery) • RICO GATSON (Ronald Feldman Fine Arts) • KATE GILMORE (David Castillo) • WOJCIECH GILEWICZ (Momenta Art) • WILLIAM LAMSON (Pierogi) • RAFAËL ROZENDAAL (Postmasters)
We are pleased to announce SEVEN / VIDEO, a collaborative exhibition at The Boiler including seven galleries, each presenting video work by one artist. The exhibition will run from 2 — 11 May. Last year’s edition of seven @ SEVEN included feature, inc. a gallery run by our friend and fellow dealer, Hudson. Hudson passed away in February and this year’s SEVEN will include a special tribute to him. We are privileged to be able to present videos of his performances, “Poodle Theater” (Part 1 and 2) from 1979 / 1980. Our special thanks to Jimi Dams from envoy enterprises for making this possible.
Launched in 2010 by seven galleries from New York and London, SEVEN is a unique initiative committed to presenting artworks on their own terms and providing an intimate, personal way to engage the viewer. An emphasis on cooperation rather than competition is a founding principle of SEVEN that puts the art viewing experience ahead of other considerations. Since its inception, SEVEN has evolved by inviting new galleries and guests in both independent and institutional locations, most commonly in Miami and recently in Dallas. Participating galleries in SEVEN / VIDEO are Momenta Art, David Castillo, bitforms gallery, Pierogi, Postmasters, P•P•O•W, and Ronald Feldman Fine Arts.
SEVEN / VIDEO will present the work of one artist from each of the participating galleries and will feature works in the medium of video. Entry to SEVEN / VIDEO is free. The opening reception is Friday, May 2nd from 6 – 9 pm.
Below is a preview of featured artists:
MELANIE BONAJO (P•P•O•W)
P.P.O.W is pleased to present Melanie Bonajo’s Pee on Presidents, a collection of over 500 photographs of urinating girls taken by Bonajo between 1998 and 2013, empowering vulnerable moments of women searching for a hiding place (or not) to pee in public. The accompanying music is “Pee on Presidents,” written and performed by ZAZAZOZO, Bonajo’s band with Joseph Marzolla. It is a protest song that ridicules patterns of hierarchy, sexism, bureaucracy and patriarchal structures in society. Dutch artist, Melanie Bonajo looks at paradoxes inherent in our future-based ideas of comfort. Through her videos, performances, photographs and architectural sculptures, Bonajo examines subjects related to progress that remove from the individual a sense of belonging and looks at how technological advances and commodity-based pleasures increase feelings of alienation within the individual. Captivated by concepts of the divine, she explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by looking at our domestic situation, idea’s around classification, concepts of home, feminism and attitudes towards value. Bonajo’s work has been exhibited in major art institutions internationally and her works has been published widely.
DANIEL CANOGAR (bitforms gallery)
bitforms gallery will feature new work by Daniel Canogar (b. 1964, Madrid) that is drawn from Small Data, his latest series, which explores the life and death of consumer electronics. Comprised of precisely mapped overhead projections and salvaged devices, Small Data uses light to reanimate found objects such as crushed computers, scanners, printers, old cell phones and hard discs. Propped on shelves, these decaying technologies are presented as contemporary still lives, insidious reminders of our own aging process and inevitable expiration date. As tools for communication with the outside world, and as repositories for so many of our memories, we acquire a very intimate relationship with technological devices. Haunted by these pasts, Canogar attempts to reveal the memories, both personal and collective, that seem trapped within, mementos of a time when they had fully functional lives and served us well.
KATE GILMORE (David Castillo)
Kate Gilmore’s, Love ‘em, Leave ‘em (2013), presents a 10-foot tall structure which Gilmore repeatedly climbs, carrying hundreds of vases and pots filled with paint. Dropped from above, the vessels shatter and splatter into a cohesive composition. The clean, white, monumental structure refers to Minimalist forms, while the explosive action and dripping paint allude to Abstract Expressionism. Humorously and destructively engaging these modernist tropes, Gilmore challenges their heroic myths and the gendered stereotypes of art making in general.
WOJCIECH GILEWICZ (Momenta Art)
Wojciech Gilewicz’ trompe l’oeil-like paintings often imitate and cover flat elements of the cityscape. His work injects paintings into the contemporary dialog of “social engagement,” humorously countering the criticism that painting is disengaged from the world. Shanghai (2008), included in this exhibition, features the artist working at a refuse dump in China. He adjusts his sensitivity to the lowest-level manifestation of urban imagery by veiling the surface details with their painting look-alikes, following his prior artistic method. The same project repeated in subsequent locations acquires an ethnographic dimension and reveals fractures in the urban tissue; in New York, Tel-Aviv, and now in Shanghai. Gilewicz currently lives and works between New York and Warsaw, Poland. His exhibitions in the US include among others Contemporary Art Museum Saint Louis, SculptureCenter and Flux Factory, both in Long Island City, Aspen Art Museum as well as NURTUREart and Queens Museum of Art, both in New York.
WILLIAM LAMSON (Pierogi)
Pierogi will feature a new video by William Lamson, Untitled (White Sands, New Mexico). In this work the artist walks in a giant circle through a sand storm as the camera slowly pans with him, creating an endless loop within an undefined field. The artist appears as a small figure moving with effort through an unforgiving and uniform landscape. All that can be heard is the harsh wind. In this, Lamson demonstrates the real time relationship between himself and the environment. His video works often find him exploring the possibilities of natural forces just outside his control (both in the natural world and in his studio). Lamson was born in Arlington, Virginia and currently lives and works in Brooklyn, NY. His work has appeared in ArtForum, Frieze, New York Times, New Yorker, Harpers and the Village Voice. Lamson is a 2014 recipient of a Guggenheim Fellowship Award.
RAFAËL ROZENDAAL (Postmasters)
Postmasters Gallery will present a brand new website by a Dutch-Brasilian artist Rafaël Rozendaal. Born in 1980, Rozendaal uses the Internet as his canvas. Spread out over a vast network of domain names, his work attracts a large online audience of over 40 million visits per year. His practice explores the electronic screen as a pictorial space, reverse engineering reality into condensed bits, to create works that reside somewhere between painting and animation. Rozendaal’s websites (of which there is almost one hundred online now) are individual works of art where the domain name serves as the title (e.g., www.nothingeverhappens.com, www.openthiswindow.com). Though collectors may buy his websites, Rozendaal stipulates in his Art Website Sales Contract that the sites must remain on public view and the owner must renew the domain registration annually. It’s the virtual equivalent of owning a sculpture in a public park, he says. There’s a point of pride of being the one who commissioned or paid for it. And the site still identifies the owner.
RICO GATSON (Ronald Feldman Fine Arts)
Rico Gatson’s The Promise of Light is partly inspired by the book, The Warmth of Other Suns by Isabel Wilkerson, which chronicles the black migration out of the American South spanning World War I through the early 1970’s. Gatson’s family undertook this journey, moving from Georgia to California in the late 60’s for the promise of a new beginning. The “promise” is a reference to the intrinsic optimism of the distinctive California light, while alternately referencing the universal struggle inherent in striving toward idealized promise. Gatson’s video projection combines footage of atmospheric light and sound layered upon graphic historic imagery. The light in the video is transitional, alluding to journey, transformation, and the passage of time.