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SEASON: 1994-1995  1995-1996  1996-1997  1997-1998  1998-1999  1999-2000  2000-2001 2001-2002  2002-2003   2003-2004 2004-2005 2005-2006
2006-2007

 

January 18 - March 10, 2007
Opening Reception: Thursday January 18, 6-8pm

MAIN SPACE:
ELEPHANT CEMETERY

Artists:
Terence Gower and Pedro Reyes, David Maljkovic, Kirsten Pieroth, Pablo Pijnappel, Falke Pisano, Pia Rönicke, Tina Schulz, Jamie Shovlin, Kerry Tribe, Mario Garcia Torres

Curated by Christian Rattemeyer

 

Tina Schulz: Untitled (Von Heir Aus 1), 2006
Inkjet print, 100 x 150cm, Courtesy Galerie B2_, Leipizig,

 

The group exhibition Elephant Cemetery addresses the oppositional pair of presence and absence as sculptural forms. Departing from the traditional functions monumentality and memory perform in contexts of commemoration and remembrance, the exhibition is concerned with a reading of these terms as excesses of presence and absence. The relational pair of monumentality and memory function through operations of exaggeration—either through a dramatic increase in scale, or through the deliberate or traumatic removal of an object—and thus are thought of as fundamentally sculptural. Bringing together ten international artists working in all media, Elephant Cemetery takes stock of the ways in which we engage with sculpture, how scale can trigger memories, and how a memory might serve as a starting point for a renewed engagement with objects. MORE INFO

Elephant Cemetery is supported by the Consulate General of the Netherlands, The Danish Arts Council, The Mondriaan Foundation and The Trust for Mutual Understanding.

Falke Pisano: Studio Lecture 1 (Feb. 2006), Lecture on DVD, 42 min. (with A5 publication), Courtesy of Ellen de Bruijne Projects, Amsterdan, 2006)

PROJECT SPACE:

Leslie Hewitt : Replica of a Lost Original

With a contribution by Rose Olu Ronke Ojo

 

Untitled (Refraction), 2006
Photographic documentation of a temporary collage, 6 x 7 cm color transparency, Courtesy the artist

 

“Snapshots, ephemera, oral stories pasted down, official and unofficial biographies left on bookshelves, found letters and mementos of sorts, suspended in time for constant reconsideration of moments pregnant with political and social agency” are the raw material for Leslie Hewitt’s photographs and installations, in which she is stripping away the density of mediated culture, and sifting through misrepresentations of genuine ideals. Hewitt quite literally builds on the idea of protest, of flux, of change, of revolution and creates structures which capture temporary manifestations of subjectivity, and which may last an instant or a long time. MORE INFO

 

 

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