Join us for a guided tour and brunch with the curators of the first exhibition at our new location in TriBeCa. Bagels and lox from Russ & Daughters.
About the exhibit:
F E A R F U L A W E S O M E – Ecstasy, death and rebirth of a male
Artists include: Seline Baumgartner, Nancy Barton & Mike Glass, Björk (One Little Indian-Elektra Records), Ella Joyce Buckley, Shadi Harouni, Andy Hope 1930, Alexa Hoyer, Jürgen Klauke, Austin Lee, Michael Mahalchick, Nadja Verena Marcin, Adam Parker Smith, Thomas Zummer.
The exhibition "F E A R F U L A W E S O M E – Ecstasy, death and rebirth of a male painter" speaks to the beauty and brutality of ambiguity. At the center of the exhibition stands the surreal act of "Amazing" (2007-2013) by Andy Hope 1930.
The story unfolds somewhere between earth, heaven and hell. "Amazing" reveals human erring and error in its deepest sense: the silence around the irrational; the speechlessness; the adrenalin; the fear; the passion; the literal death of the author. It’s a story devoid of resolution and a confession about the conflict of being human, forever caught in the fray between emotion and reason.
"F E A R F U L A W E S O M E – Ecstasy, death and rebirth of a male painter" opens a discussion about the power of emotions concerning the contradiction in human behavior .The disposition of body and mind becomes evident in contemporary society. From both the sublime to the literal, the works included challenge the viewer to rethink her/his own standing as a private persona and as a public person in society.
SANE is a curatorial collective led by artists and curators who strive to inspire intrepid critical inquiry and a dynamic platform for artistic exchange and dialogue. SANE was founded by Sarah Corona, Alexa Hoyer and Nadja Verena Marcin.
About the artist
In Venus as a Boy (1993) Bjoerk gives clue to the demonic underpins of lust and passion. Playing seductively with an egg - symbol for innocence and fragility - she draws reference to Georges Bataille’s transgressive pornographic novel Story of an Eye.
In We make promises according to our hopes, keep them according to our fears (1990-2013) Nancy Barton glances lovingly at her collaborator Mike Glass, cradled stiffly in her arms inside the infinite darkness of a bath or life water. The work, which was originally created for a show at American Fine Arts in the 90s, includes texts addressing the passage of time in relation to ritualized roles of victimization and charity, and the relationship of destiny to this performance.
Fertility symbols guard an empty water reservoir, a wedding band is half asleep, Rosie, a Hijra (transgender) dancer’s fate ties them all together. The 2–channel dance video Rosie (2013) by Seline Baumgartner tells of exclusion from family, begging, sex work and the transformation of gender, through an original song based on Rosie’s life story.
The pair of white sneakers placed into the existing architecture is part of a larger body entitled Things (2013), by Shadi Harouni, where everyday objects (watermelons, a drum, a porcelain duck, etc) push into the lost spaces inside of walls. The objects seek spatial negotiation in circumstances where power has forbidden their existence.
Bust (2013) evokes the sight of a superhero’s body, vest or knight’s armor. It is part of an ongoing photo series by Alexa Hoyer exploring homemade gun targets at illegal shooting ranges in the Nevada desert. Decimated by firepower and bullet holes, the objects begin to lose their shape, volume, and surface - a residue of identity gradually dissolving into the desert landscape. What is left are disintegrated artifacts in ghostly appearance: a "totem" of emotional abjection, letdown and the forth-on pursuit of inner faith and happiness.
In Jürgen Klauke’s Durchlauferhitzer (2003), the artist lies beneath a table that is penetrated by two balloon-like bags that hang unevenly from above. Outgrown for this childhood hiding place, the presence of an outer force is immediate and besetting. It’s a dream-and-mind game turning contemplation on the every individual’s life designation into social hells and heavens.
Austin Lee creates digital renderings, which he then translates into the physical media of painting, jarring the organic with digital rules and order. Out of Love (2013) portrays a candy colored couple laced with the obscure traits of their self-conjured nightmare. In its monumental, visceral vignette, portraying the human experience, Out of Love acts as comedian with a hysterically sick laughter.
Three articles of clothing are twisted, deformed and suspended from the wall. Accompanied by a subtle touch of torture and malaise, these innocuous objects by Michael Mahalchick - Jeans (2013), Shirt \(2013) and Sweater (2013) - play with the notion of private and public persona. Even though his transformation is impermanent, the - in the artist’s words - “magical objects” represent a battleground between who we are versus who we think we are.
In Nadja Verena Marcin’s photographic work, Animals (2013) hunt us like creatures from the dawn: staring fresh awake, hungrily searching or shyly amused in cardinal points away from our horizon. They modestly share their non verbal existence apart from the weight of names, numbers, words and codes, roles and models. Cave painting as the origin of painting is literally deformed via body parts reaching through the surface of imagination as quintessential emotionalist’s escape from human reality.
Adam Parker Smith's Hellenistic inspired sculptures - Untitled (with towel) (2013) appears to be quickly fashioned with wet clay and paired with found materials. Rudimentary in its initial appearance, further thorough reading uncovers a complexity of material usage that unfolds the enigmatic narrative. An over-towering figure in its humble willingness to mock itself, but in doing so, casts a shadow of boastfulness.
Thomas Zummer’s 6 graphite plates are taken from Excerpts from an Incompletable Series of Hells (1990-2002), a series of 140 plates inscribed with the names of various hells derived from early Christian, Gnostic, Buddhist and other sources. This work, as epigraphy, is both sculptural and architectural, an exploration of the materiality of the presence of language. At the same time the succession of hells, is an address of the abstractions and aporias of naming: “What is named, after all, in naming a hell?”