Thaddaeus Ropac


03 Mar - 07 Apr 2007

© Sturtevant
Gober Partially Buried Sinks, 1997
Plaster, wood, wire lathe, enamel paint and artificial grass
61.4 x 59.5 x 6.5 cm (24.2 x 23.4 x 2.6 in) and
61.4 x 60.8 x 7 cm (24.2 x 23.9 x 2.8 in) (sinks)
5 x 820 x 530 cm (2 x 322.8 x 208.7 in) (platform)
"Higher Power; Hate, Kill, Falsity"

Galerie Thaddaeus Ropac, Paris is pleased to announce its seventh exhibition of Sturtevant.
The artist will install four major works that reflect our cyber world of excess, limitation, transgression; exhaustion. Higher Power was once knowledge, thought, truth. Today, higher power is to hate, to kill, with truth masking the dangerous force of falsity.
There will be an open conference at the gallery the day of the opening from 4 to 6 pm with Udo Kittelmann, Bernard Blistène, Catherine Millet and Sturtevant. An attempt will be made to probe the issues of our potent truth that is falsity: its force escalating hate and killing.
HATE KILL FALSITY: The obsessive desire to hate and kill is represented by two mannequins suspended from the wall with a third inflated sex doll that lays barren our blatant falsity.
GOBER PARTIALLY BURIED SINKS: Two buried sinks are transformed to tombstones on glorious green artificial grass. These elements designate the digital force that creates the need to die rather that live and our determined need to skirt death.
INFINITE EXHAUSTION: A four camera video that discourses the perpetual exhaustion of mans force and vitality, the action of language, and the crucial noise of surface.
These three works are tied and entangled by a devised sound tape mix, the lighting design and more importantly, by the running threads of thought.
RE-RUN: A video installation that is a rotating projection that runs the image around the total space of the lower gallery. Repetition and resemblance are no longer the dynamics but rather image over image. Non-action is utilized as the time-image with the same elements acting and re-acting as the movement-image.
Sturtevant lives and works in Paris. The Museum fur Moderne Kunst, Frankfurt, Frankfurt am Main in 2004 gave over , for the first time , the entire museum to her work and produced 2 catalogues : Catalogue Raisonné/First Draft and the Brutal Truth. The Whitney Biennial 2006 had a room of Duchamp 1200 coal Bags installation. This was considered by the Whitney to be a major importance in relation to the entire Biennial.

Tags: Sturtevant