June 26 – August 8, 2014 | Opening: Thursday, June 26, 6- 8pm
A joint project between Marianne Boesky Gallery and Marlborough Chelsea, Another Look at Detroit presents works and objects by over fifty artists, designers, and cultural contributors. The focus of this exhibition is the city of Detroit as a creative center, historically through to today. Spanning a period of 150 years, and taking place at both galleries’ Chelsea spaces, this exhibition is by no means a comprehensive survey. Rather, Another Look at Detroit intends to portray a vision as sprawling and complex as the biography of the city itself.
Mary Ann Aitken / Keith Aoki / William James Bennett / Harry Bertoia / McArthur Binion / James Lee Byars / Nick Cave / James Chatelain / Liz Cohen / Destroy All Monsters / Robert Duncanson/Charles and Ray Eames/ John Egner/ Cyprien Gaillard / Michael Glancy / Brenda Goodman / Jay Heikes / Marie T. Hermann / Scott Hocking / Percy Ives / Ray Johnson / Mike Kelley / Arthur Nevill Kirk / Hughie Lee-Smith / Kate Levant / Morton Levin / Arnold Livshenko / Al Loving / Michael C. Luchs / P. Scott Makela / Tony Matelli / Katherine McCoy / Michael McCoy / Allie McGhee / Charles McGhee / Julie Mehretu/ Julius Garibaldi Melchers / Metroplex / Ann Mikolowski / Carl Milles / Wallace MacMahon Mitchell / Henry Ford Museum / Gordon Newton / Michele Oka Doner / Max Ortiz / Ellen Phelan / Pewabic Pottery / Bill Rauhauser / Scott Reeder / Richard Ritter / Diego Rivera / Eero Saarinen / Eliel Saarinen / Loja Saarinen / Dana Schutz / Zoltan Sepheshy / Robert Sestok / Jim Shaw / Shinola / Michael E. Smith / Mortimer Smith / Gilda Snowden / John Mix Stanley / Anna Sui / Graem Whyte / Robert Wilson
For more information regarding works in the exhibition, please contact Aniko Berman at firstname.lastname@example.org or Amanda Schmitt at email@example.com.
For press information, please contact Shayna McClelland at firstname.lastname@example.org or Adam Abdalla at email@example.com.
ANOTHER LOOK at DETROIT: PARTS 1 and 2
This is not an exhibition about geopolitics or macroeconomics or global finance. This is not an exhibition glorifying the misguided aesthetics of destruction porn. It is neither a feel-good exhibition trying to accentuate the positive, nor an attempt at organizing a proper historical overview of how a city was birthed and decayed.
This exhibition is a sprawling tone poem evoking the city where I was born and raised, a place I still feel deeply in my identity. A soliloquy by someone returning home, but not to the place they once knew.
Detroit was born in July 1701. In the 19th century, the city was the center of the nation’s carriage and wheel trade and stove industry. Henry Ford, a farmer, built his first automobile plant in Highland Park in 1899. General Motors was founded in 1908. A century later, on June 1, 2009, General Motors declared bankruptcy. This followed Chrysler, which had done so a month earlier. On July 18, 2013, Detroit filed for the largest municipal bankruptcy in the history of history.
Now, Detroit can no longer be ignored. Detroit has become epic, symbolic, historic - hip, even. Detroit is the birthplace of mass production, the automobile, the cement road, and credit on a mass scale. America’s way of life was built here. Now, it is the unemployment capital, where half the population does not work a consistent job. Detroit, which once led the nation in home ownership, is now a foreclosure capital. Once the nation’s richest large city, Detroit is now its poorest. Detroit, by some estimates, is 40% vacant.
Since its beginning, Detroit has been a place of perpetual flames, and not just the fires spewing forth from furnaces smelting iron transported directly to the River Rouge foundry, where it was poured into molds to make engine blocks. Three times the city has suffered race riots and three times the city has burned to the ground. The city’s flag acknowledges as much - Speramus Meliora; Resurget Cineribus - we hope for better things; it shall rise from the ashes.
People ask, “Where is the hope in Detroit?” This exhibition posits that some of that hope resides in Art. Not just Art itself, but those who create it, support it, critique it, curate it, exhibit it, and buy and sell it. There must be something that makes us want to continue. To believe in and support Art, in whatever manner our abilities allow, is to believe in that continuation.
We have believed in that kind of creativity. I know I still do. If I didn’t, why would I be bothering to curate such an exhibition? Certainly not to sit here and make a public announcement of the Apocalypse.
To share one’s critical feelings about the past, to try to describe and assess the present - all that implies a firm belief in a future.
Speramus Meliora; Resurget Cineribus.
-Todd Levin, 2014
Marianne Boesky Gallery and Marlborough Chelsea would like to express their gratitude to the many individuals and institutions whose generous loans made this exhibition possible, including Cranbrook Academy of Art, Detroit Historical Society, Detroit Institute of Arts, The Henry Ford Museum, Mike Kelley Foundation for the Arts, New York Historical Society, Pewabic Society, and Wayne State University.
We also extend a special thanks to Dora Apel, Jonathan Boos, Elysia Borowy-Reeder, Bridget Finn, Rebecca Ruth Hart, Joseph Ketner, Cary Loren, Laura Mott, George N’Namdi, and Michelle Smith for their support and expertise.
Johann König, Berlin is delighted to be able to present the fourth solo exhibition of David Zink Yi’s work in the Gallery. The driving force behind Zink Yi’s artistic creations – be they in the form of sculpture, film or photographs – is the all-encompassing and multi-layered inquiry into the phenomenon of identity. When contemplating his works, we believe at first to be able to recognize familiar motifs, which, however, Zink Yi then de-stabilizes by means of shifts, or by the manner of display or portrayal, so creating a new image.
Standing – or rather, lying – in the spatial and conceptual centre of the exhibition in Johann König’s Southern Gallery is one of the major works in David Zink Yi's current sculptural oeuvre: Untitled (Architeuthis), 2013, a naturalistic representtation of the creature of that name. The work is part of a series of ceramic sculptures created over the past two years, each on average 19 ft long and weighing 440 lbs, each elaborately glazed and shimmering in a range of opalescent colours. According to the latest scientific research, a real-life architeuthis can grow to up to 46 ft long and lives in the sea at depths of up to 12,000 ft. It was only one year ago, in 2013, that an international research team managed to capture film footage of a giant deep-sea squid in its natural habitat – a world first, although the existence of giant squid had been scientifically established since the nineteenth century with the help of carcass parts washed up on beaches. Accordingly, David Zink Yi presents his architeuthis as an unmoving, lifeless form, pressed to the floor. It seems as if this deep-sea dweller too has been washed ashore and has perished, snatched away from its natural environment.
In 2012, during an exhibition at the Tate Modern, David Zink Yi himself emphasized the importance of the creature’s lifeless state: “... sure, these molluscs in general offer a fascinating motif for sculpture, but for me it’s not so much about a realistic reproduction of Nature, but more a reference to this strange moment when these creatures reveal themselves to us, as a kind of garbage of Nature. It is this moment that is for me a much more intriguing motif.” And so Untitled (Architeuthis), with its magnificently iridescent surface, seems like a piece of sepulchre sculpture highlighting the transition between two separate worlds. David Zink Yi places the ceramic work in a pool of Japanese ink and syrup. This is less a narrative element than a formal decision, since it gives the sculpture a pedestal or frame.
For the last two years in 2012 and 2013, David Zink Yi has been researching in various regions in Peru for his different projects. A great number of them deal with the Peruvian mining industry. The photographs of the Untitled series were taken as a visual research in preparation of the video The strangers in the area of the silver mine in the region of Ayacucho in central Peru. Specifically, these black and white images were taken in the adit of the mine during the mine's working hours. The photographs are lit only with the scarce and tenuous lights used by workers to mine and drill underground.
David Zink Yi, (b. 1973 in Lima/Peru) studied at the Akademie der Bildenden Künste, Munich and at the Universität der Künste, Berlin. The Stranger is currently on view at the 8th Berlin Biennale. His most recent solo exhibitions were at Hauser&Wirth, Zurich (2013), Kunstverein Braunschweig, Germany (2013), Museo de arte de Lima (2012), NBK Berlin (2012) as well as in the Midway Contemporary Art, Minneapolis (2011), MAK, Wien (2010) or at the Kunst Halle, Sankt Gallen (2009). He took part in group exhibitions in the Tate Modern, London (2012), Museo Sala de arte, Mexico (2012) and Ludwig Forum im Aachen, Germany (2012). In 2013 David Zink Yi participated in the Bienal de las Americas, Dallas and the 55.Biennale in Venice. Works by Zink Yi are represented in numerous collections such as those of the Museum of Contemporary Art, Los Angeles, the MUDAM, Luxemburg and Museum Ludwig, Cologne.
We are pleased to announce an exhibition of new works by Gianluca Di Pasquale.
His best known works are landscape paintings composed almost only by figures, painted with precise brush strokes inside a large white space. Apart from some people, a few trees, some architectural details, there is almost nothing but white painted canvas. Yet in the imagination the immaculate space becomes mountains, sea, a square or a street. The scenarios are those of our leisure time: ski slopes, parks, trails, large urban squares, beaches - places of encounter and mediation between nature and civilization, where people aggregate, creating rhythms and constellations dictated by the forms of the landscape.
In the most recent works nature, trees and vegetation have become the main actors in the scene. They delicately invade the space with arabesques and patterns of leaves, branches, grass helms and flowers. Loosely referencing Henri Rousseau, Di Pasquale creates new images of paradise where wild animals and humans live together in peace. Di Pasquale’s nature is hypertrophic, but also suspended and silent, observing us from inside his paintings through archetypal animals that resemble guards or sentinels, protecting the landscape that, in turn, protects them. The animals become guides on a path the artist invites us to follow inside nature, getting lost and finding ourselves again, encouraging us to stop and think, triggering a moment of suspension from the frenzy of contemporary life.
Faithful to his poetics, once again Gianluca Di Pasquale attempts not so much to describe reality as to recreate, in painting, landscapes close to his idea of harmony.
Gianluca Di Pasquale was born in Rome in 1971; he lives and works in Milan.