Yazan Khalili, presented by Lawrie Shabibi
Khalili was born in 1981 and lives and works in and out of Palestine. He received a degree in Architecture from Birzeit University, Birzeit, Palestine in 2003, graduating in 2010 with a Master’s degree from the Centre for Research Architecture at Goldsmith’s College, University of London. He is currently pursuing an MFA degree at Sandberg Institute in Amsterdam.
Khalili’s practice is detailed, reflective and full of intent, using photography and the written word to unravel historically constructed landscapes. In a climate of mass displacement and uncertain territorial boundaries Khalili’s work is relevant: he explores the effect of geographical distance on our interpretation of territory, and its ability to amplify or arrest our political and sentimental attachments. For Artissima he presents a new photographic series entitled The Day We Saw Nothing In Front of Us (2015) together a film in the form of a book, On Love and Other Landscapes (2011) and video, The Blindness of Love (2013).
In The Day we Saw Nothing In Front of Us (2015) takes images of Israeli settlements in the Palestinian occupied territories and then proceeds to scratch them out, revealing not only the possibility of an iconoclastic future but the materiality of the image itself whereby violence can be enacted upon the violence depicted. On Love and Other Landscapes (2011) tells a heart-wrenching story of two separated lovers. The film/book follows a narrative of a failed love story, involving a woman who had recently abandoned the narrator and left him with the landscape photographs lacking his presence and the presence of the notorious Israeli built Wall in the West Bank, an absence which echoes the atmosphere conjured by these images. Love, politics, and the apocalyptic landscape collide and what is in the images suddenly becomes important, as what is apocalyptic also reveals or uncovers the truth. In the video The Blindness of Love (2013) text and image merge to form one sentence that describes the pain of two lovers parting ways. Images and words blink quickly so that the flashes – the absence of the image – becomes more palpable than image or text, thereby bringing this gulf between the lovers and the words/images to the fore stylistically.
“At Artissma, the visitor will be encountering a confused feeling of love, a love that is based on longing, emancipation, disappearance, and pain. A love that becomes a set of political questions: How does one look at his own pain? How does one look at the photograph of his disappearance? And mainly how do we speak about violence without contributing further to its horror. Love, here, is not (solely) a feeling, but is itself the terrain and the landscape from which to think or to produce thought on the very site of occupation, blocks to movement and irretrievable loss. The exhibition consists of three works (on love and other landscapes, 2011), (blindness of love, 2013) and (the day we saw nothing in front of us, 2015).”
Yazan Khalili. Blindness of love. 2013. Video, HD. Duration-1 min 58 sec. Courtesy Lawrie Shabibi and the artist.
Yazan Khalili, portrait
Broomberg & Chagrin, presented by Lisson Gallery
Adam Broomberg, born 1970 in Johannesburg, South Africa and Oliver Chanarin, born 1971, in London, UK are artists living and working in London. Together they have had numerous solo exhibitions. Their work is held in major public and private collections including Tate, MoMA, Stedelijk, the V&A, the International Center of Photography and the Art Gallery of Ontario. Major awards include the ICP’s Infinity Award (2014) and the Deutsche Börse Photography Prize (2013).
Tackling politics, religion, war and history, Broomberg & Chanarin prise open the fault lines associated with such imagery, creating new responses and pathways towards an understanding of the human condition. Trained as photographers they now work across diverse media, reacting to the photojournalistic experience of being embedded with the British Army in Afghanistan (and the controlled access to frontline action therein) with an absurd, conceptual riposte, composed of a series of abstract, six-metre swathes of photographic paper exposed to the sun for 20 seconds, for the work The Day Nobody Died (2008). Through painstaking restitution of found objects or imagery, from the long-lost set and discarded footage of the film Catch-22 in Mexico, for example, Broomberg & Chanarin enact an archeology or exorcism of aesthetic and ideological constructs behind the accepted tropes of visual culture, laying bare its foundations for fresh interpretation. Language and literature play an increasing role as material for their multifaceted work, from the philosophical underpinnings in Bertolt Brecht’s War Primer to the sacred texts of the Holy Bible itself, both books having been refashioned and recreated by the artists in their own ambiguous, combatant image.
Rudiments, the project they show in Torino, consists of new photographic, moving image and performative works that collectively explore tensions between discipline and chance, precision and chaos, empathy and the involuntary pleasure of watching the pain of others. Central to the project is a new film work, Rudiments (2015) in which the artists have collaborated with a group of young army cadets at a military camp on the outskirts of Liverpool. Whether Broomberg & Chanarin have staged the scenes we observe or have simply documented the camp’s routine practice remains unclear. The young soldiers-in-training are seen marching, drumming and obeying instructions – enacting a collective, authoritarian form of obedience – with varying degrees of success.
The absurd and disturbing introduction of a ‘bouffon’ – a dark clown whose performance teeters on vulgarity – radically challenges the martial codes supposedly being taught and interrupts their carefully choreographed routines. The children also learn how to pratfall, ‘play dead’ or deliver convincing blows to one another, performing comic actions that are seemingly at odds with the hierarchical structures of the army. Broomberg & Chanarin’s film explores the experience of empathy or the enjoyment of pain in others through formative moments of childhood and innocence of early youth, as well as highlighting the importance of cadets to the armed services and especially the historical role of the drummer boy in battle. The work’s title refers to the 40 rudiments that form the technical foundation of percussive music – including rolls, strokes and paradiddles – while the soundtrack is propelled by a dramatic, improvised score devised for the drums by the American musician Kid Millions (also known as John Colpitts).
Accompanying the film are two large-scale photographic series, the first of which depicts bullets that have collided head-on and fused in mid-air. These improbable, perhaps even slapstick objects were originally found on the battlefields of the American Civil War and are said to have effectively saved the lives of two soldiers. For their second new series, Broomberg & Chanarin have photographed military grade prisms, shards of optical glass that are used in the sights of precision weaponry, but which also relate to the lenses found in the same photographic apparatus they use. Violence is transmitted through these materials: collided lumps of lead and the shear edges of crystal glass. The exhibition will also feature a live performance with two drummers, one snare drum, one chair, two clocks and a lead carpet, in which the drummers play a drum roll for the six-week duration of the exhibition, without interruption.
Broomberg & Chanarin Rudiments 2015, HD video, 12’00’’ 30.5 cm 00, ed. 2 of 3 + 2 Aps, © Broomberg & Chanarin; Courtesy Lisson Gallery, London
Broomberg & Chanarin Untitled (Fused bullets 1) 2015 C-type print, 180 x 225 cm, 70.9 x 88.6 in ed. 2 of 3 + 2 Aps, © Broomberg & Chanarin; Courtesy Lisson Gallery, London
Broomberg & Chanarin Rudiments 2015, HD video, 12’00’’ 30.5 cm 00, ed. 2 of 3 + 2 Aps, © Broomberg & Chanarin; Courtesy Lisson Gallery, London
Broomberg & Chanarin Untitled (Prism 1) 2015 C-type print, 180 x 225 cm, 70.9 x 88.6 in
ed 1 of 3 + 2 Aps, © Broomberg & Chanarin; Courtesy Lisson Gallery, London
Ewa Juszkiewicz, presented by lokal_30
Ewa Juszkiewicz was born in 1984. Having graduated from the Academy of Fine Arts in Gdańsk, she currently lives and works in Warsaw, Poland. She works in the fields of painting, drawing, installation and animation. In 2014 her works were included in the album "100 Painters of Tommorow" published by Thames and Hudson. In 2014 she was invited to the exhibition Shit an Die curated by Maurizio Cattelan in Palazzo Cavour in Torino. She was awarded the Grand Prix of the 41th “Bielska Jesień” Polish Painting Biennial in 2013. She also works as a curator. In 2011, together with Paulina Ołowska, she prepared the “Dirty Water” and the “Beautiful Weather” exhibitions which were shown at the National Art Gallery in Sopot and the Foksal Gallery Foundation in Warsaw. Her works are held by such institutions as the Museum of Modern Art in Warsaw, the Zachęta Contemporary Art Collection in Szczecin or the Bielska Gallery BWA in Bielsko-Biała, Poland.
Ewa Juszkiewicz artist statement, “I work mostly in the field of painting, using appropriation and remixing historical artworks. Deconstruction and referencing allow me to establish a dialogue with the painting tradition, on the grounds of which I build new contexts, narrations and formal solutions. Taking the main interest in the image of the woman, I analyze the canons of picturing women in the history of art, as well as their cultural and social implications. The process of creation is an important aspect in my work. I paint on the basis of a reproduction, which I deconstruct on the one hand, but on the other hand, I faithfully follow the brush strokes of the original. These are invariably intuitive actions. For me it is a form of exploring and sharing common experience, an attempt to create a timeless dialogue. This dialogue gives a new life to the painting, which may seem today an outdated medium. To a certain extent, my work is also an attempt to find out whether there exists a boundary between “veritable” painting and its imitation or duplicate. It provoke the discussion about the definition of painting, which undergoes changes and is expanded in the process. Conversion and reference serve me as tools for building another layer of meaning. these efforts constitute an inexhaustible source of new themes and formal solutions, which demonstrates the potential of painting and its enduring vitality.”
At Artissima we will show recent paintings of Ewa Juszkiewicz, that has been created in last few months. This cycle refers to the works of art that have been lost in wars, fires or other tragic circumstances, were stolen and never found. Her works are based on photographs, solely poor quality, black and white photos, which she had traced in archival materials, often several decades old, making these modernized versions of the missing works free interpretations, form the basis for her new explorations on which she develops her discovery. Her choice of originals, it was not accidental. From the numerous photographs found during the research, the artist chose those which illustrated her own memories of events, places or people that she had lost somewhere along the way and that she misses. Some of her representations illustrate exceptionally intense memories, others are loose associations, recollections of some special aura. Thus, the lost works and the longing for them become intertwined with a kind of “controlled nostalgia” evoked by her personal experiences, which constitute a secret, hidden, and yet disclosed to the viewer. This project stems from a longing cultural, both personal and collective. It is the search for traces, symptoms of closeness, her way of finding the presence. It is a reconstruction of the past and an attempt to deal with the problem of absence.
Ewa Juszkiewicz, Untitled (after Sir Joshua Reynolds), 2015, oil on canvas, 160в125 cm
Ewa Juszkiewicz, Untitled (after Paul Klee), 2015, oil on canvas, 73в92 cm
Ewa Juszkiewicz, portrait by Marci Gierat
Nate Young, presented by moniquemeloche
Nate Young was born in 1981 in Minneapolis, MN, where he lives. He received his MFA from the California Institute of the Arts in 2009 and a BA from Northwestern College in Minnesota in 2004. He attended the Skowhegan School of Painting and Sculpture in 2009, and was invited back as a Dean of the residency in 2015. Young’s first solo museum exhibition, The Unseen Evidence of Things Substantiated, is on view the Fabric Workshop and Museum in Philadelphia, through January 2016. Recent solo and group exhibitions include But not yet: in the spirit of linguistics, moniquemeloche (2015); Retreat, curated by Theaster Gates, Richard Gray Gallery, Chicago (2014); Tony Lewis, Nate Young, at Room East, New York (2014); Joy at the Suburban, Chicago (2013); the Soap Factory’s Minnesota Biennial (2013); Fore, at The Studio Museum in Harlem, New York (2012); Go Tell It on the Mountain, at the California African American Museum, Los Angeles (2012). Nate is the recipient of the Knight Arts Challenge Fellowship from the Knight Foundation (2014), the Bush Fellowship for Visual Artists (2010) and the Jerome Fellowship for Emerging Artists (2014). His work is in notable public collections, including the Walker Art Center. Young is co-founder and director of the artist run exhibition space, The Bindery Projects, in Minneapolis.
Nate Young artist statement, “My work examines systems that create cognitive thought, and language plays a central role. Therefore, subtle differences between rhetorical frameworks and how their context and aesthetics shift understanding are of considerable interest. Engaging with a discourse concerning subjectivity, identity, and the effect they have on the reading of a work of art, I am interested in how one’s position is ever shifting; as is the way in which relationships are formed between signs in a work of art. I attempt this by setting up situations where relationships are formed between signifiers that are seemingly affiliated by political underpinnings.“
Excerpt form the limited edition publication created for Artissima 2015 by moniquemeloque:
“Nate Young’s work explores visual representations of systems, re-creating the transcendent and cerebral experience of knowledge formation and the impartation of truth and greater understanding. For But not yet: in the spirit of linguistics, his 2015 solo show at moniquemeloche, the artist combined text and signifiers with graphite and paper to create deliberately worked diagrammatic drawings that were austere and poetic. This combination of lucid materials and abstruse concepts identifies the space between language and cognition, the signifier and the signified; articulating the connection between. This moment of cognition is further amplified by the inclusion of a distinct, codified language that is an extension of post-structuralism, informed by religious doctrine.
Young derives his inspiration from Swiss linguist and semiotician Ferdinand de Saussure and his father’s theological background. In semiotic theory, the sign has a meaning other than itself, which communicates information once decoded. For Young, this symbol is an opportunity to challenge our understanding of form and meaning. The series Diagrams with my Father was created through the appropriation of theological diagrams from the elder Young’s teachings, combined with symbols that carry a particular weight in the artist’s visual lexicon. The combination of authoritative marks of the scholar and artist conflates the absoluteness of religious word and language itself, resulting in a system of floating signifiers that weaves a thread through Young’s broader practice. Through the removal of information that would serve to proselytize the audience, Young presents a framework for the articulation of a doctrine focused on the system. The inclusion of the oak wood frame creates a further context through which the viewer must navigate and make connections. For Young, these strategies challenge the authenticity of larger systems at play.
This logic is carried through Young’s Altar series, the series of Reliquary works, and modular units where the diagrams are transported off the paper and into the material that once served as a “frame.” Instead of acting as a device that surrounds the drawing, the frame itself becomes the drawing and imposes itself as an object. The rich color and grain of the wood stands in for the delicate fields of graphite, and intricate inlays replace the graphite lines. Within this new body of work, prominence is given to modular structures that both negate and reveal attempts at communication. As such, the viewer is treated to a layered experience, as the diagrams unfold in space and time. Retreating into a field of nothingness, this space of absence acts as the structure through which ideas can be articulated. Through the interruption of form, various systems of belief are prodded. The removal of content presents an opportunity to consider the idea of a diagram, as opposed to the diagrams presenting a set of ideas. Young’s desire to offer and at the same time conceal is insistent on the predication that hiding something away heightens its sacredness. (Allison Glenn and Nate Young) “
Reliquary for a Declaration No. 6, 2015, Oak with walnut inlay, 76.2 x 152.4 x 6.35 cm, Image courtesy of the artist and Monique Meloche Gallery, Chicago
Untitled (Altar No. 6), 2015, Graphite on paper in artist made oak frame with walnut inlay, Partially open: 106.68 x 54.61 x 27.3 cm, Image courtesy of the artist and Monique Meloche Gallery, Chicago
Untitled, 2015, Graphite on paper in artist made oak frame with walnut inlay, 132 x 40.64 x 6.35 cm, Detail, Image courtesy of the artist and Monique Meloche Gallery, Chicago
Untitled Diagram No. 14, from Diagrams with my Father, 2014 Graphite on paper in artist made oak frame, 83.82 x 60.96 x 6.35 cm, Image courtesy of the artist and Monique Meloche Gallery, Chicago