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Novel ~ S.C

NOVEL
Rowlands, A. & Williams, M., eds. ‘Novel – SC issue’ In: Meade, F. ed. Time Again, Sculpture Center, New York, 2011, pp. 33 ISBN 0-9703955-6-6
LCCn: 2011927526
Designed by Kloepfer-Ramsey, Printed and bound by Shapco, Minneapolis, MN

 

Ed Atkins Impulses to Reanimate a Dead Alsatian (collectively), 2010

Ed Atkins
Impulses to Reanimate a Dead Alsatian (collectively), 2010
ink on paper, ferric tape, tape recorder, and silkscreened poster
Courtesy of the artist and Cabinet, London

Marc Camille Chaimowicz
Shoe Waste, 1971/2005
5 hand-printed silver gelatin prints,
9.8" x 15.9", 8.5" x 15.9", 11.7" x 14.4", 15.9" x 10.8", 15.7" x 9.3"
Courtesy of the artist and Cabinet, London

Steven Claydon
Osmium and Wolfram, 2008
Wall drawing/print, dimensions variabl Courtesy of Kimmerich Gallery, New York

Sergej Jensen
Untitled, 2011
Fabric, dimensions variable
Courtesy of the artist; Anton Kern Gallery, New York; and White Cube, London

Sam Lewitt
Portfolio (Monograms 2 of 2), 2008
Portfolio with ink and graphite on paper, ink on paper, carbon
paper, 4" x 5" negative in plastic sleeve, 3 color photocopies
Portfolio: 17" x 22", plinth: 34" x 35" x 22" Courtesy of the artist and Miguel Abreu Gallery, New York

R.H. Quaytman
Distracting Distance, Chapter 16
(A Woman in the Sun–yellow)
, 2010
Oil, silkscreen, and gesso on wood,
24.75" x 40" Courtesy of the artist and Miguel Abreu Gallery, New York

Josef Strau
Untitled, 2011
mixed media, dimensions variable
Courtesy of the artist and Greene Naftali Gallery, New York

Barry MacGregor Johnston, Psychic Curfew, 2010

NOVEL S.C Issue

p.1, Barry MacGregor Johnston, Psychic Curfew, 2010
p.2 - 6, Emily Wardill, The Diamond (Descartes’ Daughter) 2010
p.7, Mark leckey, Fiorucci Made Me Hardcore
p. 8 - 9, Charles Atlas, Blue Studio: Five Segments 1975-6
p. 10 - 14, Josef Strau, What Should One Do, 2011
p.15, Charles Atlas,
Blue Studio: Five Segments
p. 16 - 28, Ed Atkins, Defiant Delight: The Freedom of the Dilettante, 2011

special issue of NOVEL published as an insert on the occasion of 'Time Again', Sculpture Centre, New York, 2011

Time Again

Featuring work by: Richard Aldrich, Troy Brauntuch, Manon de Boer, Matthew Buckingham, Moyra Davey, Thea Djordjadze, Aurélien Froment, Rachel Harrison, Charline von Heyl, Ull Hohn, William E. Jones, Elad Lassry, Rosalind Nashashibi, NOVEL, Blinky Palermo, Laure Prouvost, Steve Roden, Emily Roysdon, and Rosemarie Trockel

Time Again is an exhibition that explores the language of repetition, bringing together works that destabilize conventional ways of seeing and considering what is past and what is present. Engaging gesture, image sequence, material affect, and displaced narrative, the works on view create disjunctions with the way the time of the present is experienced, challenging our understanding of what it means to be contemporaries.

Included within Time Again is a presentation of works organized in collaboration with Novel, a project founded by London-based editors and curators Matt Williams and Alun Rowlands. A publication project that takes up experimental writing as a parallel practice to visual art making, Novel draws on politics, poetry, theory, and storytelling to promote explorations of language and the possibility of a new critical fiction.

Here, that scenario takes the form of NOVEL revisiting past collaborations with Ed Atkins, Marc Camille Chaimowicz, Sergej Jensen, Sam Lewitt, R.H. Quaytman, Josef Strau and Paul Thek.

Within the exhibition, archival and historical settings are re-animated only to be undone, including William E. Jones's video Berlin Flash Frames, 2010, which parcels out footage from an unedited film produced by the U.S. Information Agency found in the National Archives of the United States labeled with the provisional title “Berlin, 1961″. Jones's re-edit features distanced shots of the Berlin Wall under construction alongside propagandistic scenarios featuring actors on stage sets. Similarly, Emily Roysdon's Untitled (David Wojnarowicz Project), 2001-2007, responds to and redirects Wojnarowicz's earlier work Arthur Rimbaud in New York, 1978-79, while an excerpt from Marc Camille Chaimowicz's Shoe Waste?, 1971-2005, returns to documentation of a clandestine action performed above and beneath the River Thames in London.

Additional works to be exhibited include a new sculpture by Rachel Harrison, Avatar, 2010; Ull Hohn's series of plaster relief paintings, Untitled, 1988; Thea Djordjadze's Deaf and dumb universe (Gerüst), 2008; and Troy Brauntuch's Stamps, 1975-2007, which gathers together the artist's collection of figurative rubber stamps that have been used in his collages over the past thirty years. Also on view will be sculpture, collage, and video works from Rosemarie Trockel, including Goodbye Mrs. Mönipaer, 2003, a cinematic pantomime that explores the psychologically fraught role-playing that can emerge between artists and gallerists, studio and market concerns, and private and public selves.

The performing body and political subject present themselves throughout the exhibition via acts of estrangement, reversal, ritualized behavior, and fragmentation. Manon de Boer's film Attica, 2008, for example, captures a refracted consideration of the 1971 prison uprising in the form of a musical performance, while Rosalind Nashashibi's This Quality, 2010, offers an indirect view of Cairo through tightly framed observations of likeness and variation. Matthew Buckingham's Image of Absalon to be Projected Until It Vanishes, 2001, addresses a public that may no longer exist in a fragmented portrait of the Danish warrior-bishop and quasi-mythic founder of the city of Copenhagen. Similarly, the place of abstraction reasserts a longstanding dialog with the place of iconography through modes of projection, superimposition, doubling, and associative image sequences in works by Richard Aldrich, Moyra Davey, Charline von Heyl, Elad Lassry, and Blinky Palermo.

Included within Time Again is a presentation of works organized in collaboration with Novel, a project founded by London-based editors and curators Matt Williams and Alun Rowlands. A publication project that takes up experimental writing as a parallel practice to visual art making, Novel draws on politics, poetry, theory, and storytelling to promote explorations of language and the possibility of a new critical fiction.

Here, that scenario takes the form of NOVEL revisiting past collaborations with Ed Atkins, Marc Camille Chaimowicz, Sergej Jensen, Sam Lewitt, R.H. Quaytman, Josef Strau and Paul Thek.

A series of talks and performances will take place at SculptureCenter, and a related screening series will be presented in collaboration with Anthology Film Archives in July (Dates TBA). The exhibition catalog will feature texts by contributing artists—including Ed Atkins, Josef Strau, and Richard Aldrich—and essays by Fionn Meade, Jacob King, and Isla Leaver-Yap.


 


 

Charles Atlas and Merce Cunningham
Blue Studio: Five Segments (video stills), 1975–76
video, color, sound, 15:38 minutes
Courtesy of Charles Atlas and Vilma Gold, London