Kaucyila Brooke, Kelly Cline, Veronique d’Entremont, Danielle Dean, Lecia Dole-Recio, Patricia Fernández, Margaret Honda, Alice Könitz, Bessie Kunath, Young Joon Kwak, Gina Osterloh, Gala Porras-Kim, Jen Smith, Ariane Vielmetter, Brenna Youngblood
September 23 — October 25, 2013
Artist Reception & Catalogue Release: Sunday, October 20, 1PM — 4PM
Location: Guggenheim Gallery @ Chapman University, One University Drive, Orange, CA 92866
Hours: Monday — Friday, 12 — 5PM; Saturday, 11AM — 4PM
The Guggenheim Gallery at Chapman University is pleased to present Demolition Woman, an exhibition curated by Commonwealth & Council, September 23 to October 25, 2013. The exhibition assembles an intergenerational sisterhood of artists whose projects re-envision our shared habitat through inflections of difference.
Utilizing a symbolic stratagem that undergoes both physical and contextual transformations, Demolition Woman dismantles shoddy infrastructures of knowledge and social order by regenerating an open system for grafted realities and truths. Adopting various epistemologies of material process, Kaucyila Brooke, Kelly Cline, Veronique d’Entremont, Danielle Dean, Lecia Dole-Recio, Patricia Fernández, Margaret Honda, Alice Könitz, Bessie Kunath, Young Joon Kwak, Gina Osterloh, Gala Porras-Kim, Jen Smith, Ariane Vielmetter, and Brenna Youngblood synthesize permutations of language, history, and memory toward divergent forms and meanings.
An artist reception will be held on Sunday, October 20, 1PM—4PM, coinciding with the release of the exhibition catalogue designed by New Byzantium and featuring an Eknæs font/cover design by Nicolau Vergueiro and essays by Doris Chon, Chương-Đài Võ, and Catherine Wagley. Printed in an edition of 196, each copy of the catalogue contains a unique print that functions as a 1:1 scale segment of the walls, floor, or ceiling of the bathroom from Margaret Honda’s 4366 Ohio Street, an ongoing, full-scale reconstruction in paper of the artist’s childhood home.
Special thanks to: Sue Ann Robinson and Candice Reichardt at Long Beach Museum of Art; Nadja Quante and Anja Casser at Badischer Kunstverein; Karisa Morante, Tyler Park, and Francois Ghebaly Gallery; Honor Fraser Gallery; Marcus Herse and Guggenheim Gallery at Chapman University; Blake Besharian/New Byzantium; Nicolau Vergueiro; Doris Chon; Chương-Đài Võ; Catherine Wagley; and the artists.
Guggenheim Gallery at Chapman University is pleased to announce:
Takes on Conceptual and Minimal Aesthetics – Düsseldorf / Los Angeles
Guggenheim Gallery at Chapman University, October 1, 2012 through October 29, 2012
Please join us for the opening reception on Wednesday October 3, 2012 from 6pm to 9pm
There is no dark side of the moon really. Matter of fact it’s all dark. *
Let’s start off with some seemingly obvious remarks, whilst it’s funny that we seem to so obviously know what it is that we don’t know. With dark we commonly describe for lack of better knowledge what we can’t see or recognize. But dark is also what we are not supposed to see or don’t want to see. The term herein describes, on the one hand, a field of possibilities and a threat on the other. We have to make a decision as to what to do with the dark.
Less than 5% of all the mass and energy in the universe presents itself to us. My guess is that the percentage of certainty in our lives (if via some formula, it were calculable) is about the same ratio, maybe less. Everything can change at any given moment. To be able to live with the all-determining dark you need to trust. But in what? God? Science? The romans invented the answer: Securitas, the goddess of security. Her likeness decorated Roman money and she guaranteed the safety of the borders, security of the empire and fittingly, financial stability.
This 2,000-year-young concept seems like new. Yet, it is precisely the idea of a guaranteed risk free life as the ideal of our time, which causes a constrictive understanding of how we move within the world and how we act towards one another. It is bizarre that we believe that safety and security could be products, which exemplifies that our true faith lies in monetary exchange. But security is not a product. It is always only a temporary state of the absence of danger. You can pay for it, but you won’t own it.
So, do we see dark as the imponderability of life, which we have to be armed and protected against? Or, is dark the cubbyhole of our fantasies?
Dark is indeed our true home. Dark is ultimately where everything arises, where we come from, the stream of potential which only in our intrepid consciousness unfolds as world into what we envision, what we are and who we want to be.
It’s the dark that matters.
The exhibition brings together 6 positions from Düsseldorf and Los Angeles that deal with those matters. The visualization of hidden structures by means of actions, temporary interventions and minimal gestures are techniques employed by the participating artists.
A contentual arc is traced from Krysten Cunningham’s video, a theatrical meditation on speculative physics and multidimensional models, reflections on systems of communication by Christian Jendreiko, over to Adam Feldmeth’s often times not physically materialized investigations of the internal discursiveness of the artistic process, as well as psychologically dark material in Monika Stricker’s Sweat Piece. Analia Saban’s and Tobias Hantmann’s work re-illuminates the possibilities of representation through painting.
Especially in Düsseldorf and the surrounding Rhineland (unlike as for example in Berlin), there is a long regional history tracing back to the 1960s in which minimal and conceptual tendencies have been located. Herein lies the connection to the American West as a cradle of conceptual art, and both here and there, the background radiation of minimal and conceptual art produces contemporary approaches which extend and exceed these models.
is a sculptor known for her fiber structures and videos inspired by utopian mathematical and scientific theories from the fourth dimension to Buckminster Fuller’s geodesics. She taps into contemporary revivals of 60s and 70s era crafts such as weaving and gods-eyes but using the color palette of computer graphics. Through these technological and utopian engagements, she criticizes the modernist era of science and architecture that was male –dominated. Cunningham currently resides in Los Angeles and graduated from UCLA in 2003. She is the recent recipient of a COLA Fellowship from the Department of Cultural Affairs, City of Los Angeles and will exhibit a new body of work at the Barnsdall Municipal Gallery in May 2013. She will also participate in Women and Technology: utopias, dystopias, cyborgs at the Boulder Museum of Contemporary Art in September 2013.
work often only exists within the process of (a) discussion. He enacts investigations with his contemporaries into their own practices, questioning the supplemental details of a context, be it in an object, a site or an idea. His thoroughness and durational investment in the practices of others attempts to critically expose the latent autonomy of the artist as idea-maker. Through breadth and analysis he emphasizes the internal discursiveness of an artistic process. Currently, he maintains regular appointments with students in the art programs at the California Institute of the Arts and the University of California Los Angeles as well as with art professionals in Los Angeles, Berlin and elsewhere. He has recently contributed to exhibitions at TÄT, Berlin; Overgaden Institute for Contemporary Art Copenhagen; and JB Jurve, Los Angeles. His investigation and subsequent consultation in a reconstructed Blinky Palermo installation at the 53rd Venice Biennale appeared as a featured article in X-TRA Contemporary Art Quarterly in autumn, 2011.
… paints today. The center of his work is the questioning of conditions of artistic expression and their relationship to reality-experiences. Starting with simple experimental set-ups, he develops precise formulations, in which the used material stays physically present and at the same time, through transmission of representation and thought, recedes behind the picture itself. These changes in perception bring rise to confusion, which allows a reinterpretation and renewed estimation of what we insist on calling „reality“.
Born in 1976, Kempten (Germany), lives and works in Düsseldorf an Cologne, studied at the Kunstakademie Düsseldorf and the Hochschule der Künste Berlin, exhibited in numerous galleries and institutions in Germany, Netherlands, Rumania, Poland, Italy, Sweden and Austria such as
Galerie Bernd Kugler in Innsbruck, Mogosoaia Palast in Bukarest, General Public in Berlin, Kunstverein Schwerte, Museum Morsborich in Leverkusen, Mediation Biennale in Poznan, Palafuksas in Turin, Konrad Fischer Galerie in Düsseldorf, Museum het Valkhof in Nimwegen, Cité Internationale des Arts in Paris and Galerie Mehdi Chouakri in Berlin.
was born in 1969 in Recklinghausen. He lives and works in Duesseldorf, Germany. Since 1998 he is a member of the Duesseldorf-London-based artist collective hobbypopMUSEUM. He has worked as an educator since 2003 and currently teaches as an adjunct professor at the Akademie der bildenden Künste, Nürnberg. About his work, Christian says: “I don’t make art to make art, but to find something out about the making of art.”
As a solo-artist Christian has presented exhibitions and performances in galleries and art institutions throughout Europe and North-America, a.o.
Wesleyan University (2007), Kunstverein Düsseldorf (2007), Kunstverein Nürnberg/Albrecht Dürer Gesellschaft (2009), the Museum of Modern and Contemporary Art in Strasbourg (2009), Baer Ridgway Gallery, San Francisco (2010), Eastside Projects, Birmingham (2010), Museum Ostwall, Dortmund, Museum Abteiberg, Mönchengladbach, J.B. Jurve, Los Angeles, Arnolfini, Bristol, Badischer Kunstverein, Karlsruhe (2011), Kunstmuseum Liechtenstein (2012)
As member of the Düsseldorf-based artist collective hobbypopMuseum, Christian has presented exhibitions at Anthony d’Offay Gallery, London (2001), Tate Britain, London (2003), Deitch Projects, New York (2005), Deste Foundation, Athens (2005), Herzeliya Museum of Contemporary Art, Tel Aviv (2007), Right Window, San Francisco and Eastside Projects, Birmingham (2010).
His works are included in the permanent collections of the Musée National d’Art Moderne at the Centre Pompidou, Paris and at the Museum Abteiberg Möchnengladbach, a.o.
He has released books, records and CDs, a.o. the book “Heterologics” and the double-CD “aktionen/actions” on the label apparent extent.
was born in 1980 in Buenos Aires, Argentina. She received her MFA in New Genres from UCLA in 2005. Currently living and working in Los Angeles, the artist recently participated in the biennial survey exhibition, MADE IN LA 2012, organized by the Hammer Museum in collaboration with LAXART, Los Angeles; and The Possessed, Le Triangle, Marseille, France (group). Upcoming shows include the Rudin Prize, Norton Museum of Art, opening September 27 (group); La Ballena Negra, MARCO Museum of Contemporary Art, Vigo, Spain, October 5, 2012 - March 3, 2013 (group); Lost Line: Selections from the Permanent Collection, Los Angeles County Museum of Art (LACMA), November 23, 2012 – February 24, 2013 (group); FriArt, Fribourg, Switzerland, November 2012 (group), among others.
(* 1978 in Dusseldorf, lives in Dusseldorf) studied at the Art Academy in Dusseldorf. She graduated in 2005 from her studies as a Meisterschüler (honorary title) of Rita McBride. In her sculptures and installations she refers to theatrical productions of our everyday media life. Monika Stricker has been honored for her artistic work through: Scholarship of the Arts Fund (2010), Peter Mertes Scholarship of the Bonner Kunstverein (2008), Studio Grant of the Cologne Kunstverein (2008), Award for Visual Arts of the City of Dusseldorf (2007). Monika Stricker was selected as a participant in the residency program of WIELS in Brussels for 2013. Recently her work has been in the art collection of the City of Gera in the exhibition Otto Dix Award – Young German Contemporary Art.
LICK IT INTO SHAPE
Friending the Ephemeral
Guggenheim Gallery at Chapman University is pleased to announce LICK IT INTO SHAPE – Friending the Ephemeral. The exhibition will be on view from August 20 through September 20, 2012. Please join us for the artist reception on Wednesday September 5, from 5pm – 9pm.
Lick It into Shape is about shifting concepts on how ideas manifest. About the question as to how presentation shapes the presented. An impulse that finds a realization in many forms. The work that is open ended to the extent that it seems unfinished. “We are wanderers between the worlds and all we create are in-between stadiums”°. It’s about the tension that arises between the possibilities of a situation and the need to put it into shape. The moment when a piece that was completed lives again and demands a new manifestation. Memory, archive and aspiration.*
We are time-bound beings. Because everything flows and withdraws from our grasp, we create images that are supposed to last, to carry us through time and anchor us. But the image and the artwork as a stationary, fixed manifestation have conceptually served their time more than half a century ago. The ephemeral in art has been explored since the 1960s and today we deal with the background radiation of the radical work of Dieter Roth, Bas Jan Ader, Felix Gonzales Torres and the like.
The exhibition gathers a group of artists (all but one) living and working in Los Angeles, whose endeavors present a broad spectrum on the notions of the fleeting and the elapsing. The focus is put on this aspect of their production in a selection of works, some of which are created specifically for the show. While feeling obliged to the idea of radicalism and pushing the boundaries of their work, today there is no need to strike a blow for the elusive. The inclusion of ephemeral concepts by the artists in Lick it into Shape is casual, part of the repertoire, and applied distinctively in each approach.
Born 1982 in San Diego and raised in Los Angeles, Brandon Andrew fled to the east coast where he received his BFA from School of the Museum of Fine Arts before returning home. He has had solo exhibitions at the New International Cultural Centre in Antwerp and Revolve Project Space in Los Angeles. He also engages the community with his public installations around Los Angeles. In addition, Andrew’s work has been shown in group exhibitions at Luis De Jesus Gallery (LA), AIS Editions (LA), Family Business (NY), and M_HKA Contemporary Art Museum (Belgium).
Andrew’s works operate as performative gestures intended to conflate acts of mourning and celebration. By conflating these binaries he hopes to complicate and expose the vulnerability of our understanding of the temporary.
is an artist, independent curator, and exhibition coordinator at Commonwealth & Council, an artist-run space situated in Koreatown. Chung received his MFA from the School of the Art Institute of Chicago and BA from University of California, Irvine.
takes form in print and space. The physical space, a storefront in Highland Park, gives a site to experiment with installations, performances and shows on a changing topic. The publication of the same name combines ephemera from these experiments with things that happened outside and around LA on the same subject. Each series is 3 months long. PUBLIC FICTION is run by Lauren Mackler.
Samara Golden was born in Ann Arbor, Michigan in 1973. She received a MFA from Columbia University, New York in 2009. Golden has exhibited her work in the US and abroad including solo projects at Frieze, New York; Night Gallery, Los Angeles; WorkSpace, Los Angeles; and Ferenbalm-Gurbrü Station, Karlsruhe, Germany. Her work has been included in exhibitions at Sculpture Center, New York; ACME, Los Angeles; CANADA, New York; Derek Eller, New York; Galerie Michael Janssen, Berlin; Renwick, New York; and LAX-Art, Los Angeles. Golden’s work has been written about in Flash Art, Rhizome, NY Magazine, The LA weekly, Art Forum, and The New York Times. Her previous feature film collaboration with artists Reynold Reynolds and Patrick Jolley screened at Sundance in 2005. Golden is currently based out of Los Angeles, and was recently a visiting lecturer at the University of California San Diego, the University of California Riverside, and the Armory in Los Angeles.
Born 1971 in Duisburg, Germany, Alex went to study art at the Kunstakademie in Düsseldorf, where he lives and works. He has had recent solo exhibitions at Liste 08, Basel, Switzerland with Linn Lühn Galerie, Cologne and with Galeria Heinrich Ehrhardt, Madrid, Spain.
His work addresses transitions: Objects of everyday use become imprints of human life and attitudes – rather carelessly assumed - become evidence of a “human state of consciousness”.
Born in Zurich in 1970, Cyril Kuhn studied law, worked as a bouncer,roofer and servant and received a MFA in Film and Video from CalArts in 2001.
As a member of the artist-run cooperative c-level from 2001-2004, Kuhn organized events and produced several video shorts. In 2004, his collaborative video installation JOYCE with Ron Athey was realized at Kampnagel theatre, Hamburg and toured throughout England and Scotland .
Since 2005 Kuhn turned to painting like the Swiss painters, his mother Rosina Kuhn and his grandfather Adolf Funk. His grandmother is the formidable textile artist Lissy Funk.
is a Canadian artist working in Los Angeles California. She holds a BFA in Photographic Studies from Ryerson University (2004) and a MFA in Visual Arts from Columbia University (2009.) Nemeroff’s work is an ongoing investigation of the frame. Her work has been exhibited in Canada, The United States, Germany and South Korea.
She is the director of the nocturnal platform Night Gallery in Los Angeles.
Davida Nemeroff is represented by Annie Wharton los Angeles in the U.S. and by Katharine Mulherin Contemporary Art Projects in Canada.
Paul Pescador is a Los Angeles based artist, art organizer, and filmmaker. His interest in small-scale actions and gestures manifests in the form of photographic objects, performance events, and curated exhibitions. He has had solo projects at ForYourArt (June 2012), Human Resources (May 2011), and Outpost for Contemporary Art (March 2010). He recently obtained his MFA in Studio Art from the University of California, Irvine in June 2012.
Curated by Marcus Herse
* Excerpt from the invitation to the artists to participate in Lick it into Shape
° Christian Jendreiko in a publication on Juergen Staack and Tobias Hantmann
Winter 2011: Breakdown, curated by Julie Schustack. Featuring John Chwekun, Julia Haft-Candell, Emily Maddigan, Katie Martineau-Caron, Thomas Müller, Kristen Morgin, Matthew Alden Price, Julie Schustack, Christian Tedeschi.
Summer 2011: Musical Improvisations; paintings and drawings of 1961 Department of Art alumnus.
Spring 2011: Measure for Measure, curated by Lisa Randall and Lia Halloran. Featuring Elizabeth Tobias, Susan Sironi, Katrina McElory, Meeson Pae Yang, Felicity Nove, Barbara Parmet and Zig Gron.
Fall 2010: (re-): un-historical documents curated by Ellina Kevorkian. Featuring Angela Ellsworth, Micol Hebron, Rachel Lachowicz, Angela Marzullo, John Millei, and Richard Newton.
Altered Appropriations: Making Strange featuring Abigail Reynolds, Kim Rugg, Curtis Mann, Soo Kim, Ishmael Randall Weeks, Mickey Smith and Peter Wegner.