SculptureCenter is pleased to present Araya Rasdjarmrearnsook, the Thai artist's first retrospective in the United States.
Araya Rasdjarmrearnsook (born 1957 in Trat, Thailand) is one of the most prominent artists working in Southeast Asia. The exhibition will showcase over 20 artworks spanning two decades of the artist's career, and will include video, sculpture, photography, and some of her better-known works, as well as those that have rarely been viewed, especially in the United States. Rasdjarmrearnsook is also producing new sculptures for the exhibition.
Working with psychologically rich materials, Rasdjarmrearnsook considers a wide range of subjects that have existed in marginal spaces, including women, the deceased, the insane, and animals. She creates complex narratives that confront societal structures of power and pedagogy. Concerned with systems of language and communication, Rasdjarmrearnsook makes earnest attempts to converse with subjects who don't speak in languages that are comprehended or even acknowledged by mainstream society.
The exhibition will present video works, including both The Class and Conversation series, where Rasdjarmrearnsook conducts discussions with corpses. Also included is Village and Elsewhere: Artemisia Gentileschi's Judith Beheading Holofernes, Jeff Koons' Untitled, and Thai Villagers (2011), a video in which a Buddhist monk leads a comical conversation about these two Western paintings in a temple. A more recent group of works featured focuses on the status of dogs in Thai culture and beyond. The exhibition will premiere a new series of sculptures, each a portrait of the stray dogs that Rasdjarmrearnsook cares for in her home and at Chiang Mai University, where she teaches.
For the past 25 years, Rasdjarmrearnsook’s videos and installations have been regularly shown throughout the world. Rasdjarmrearnsook represented Thailand at the Venice Biennale (2005) and has been featured in many international exhibitions including dOCUMENTA (13) (2013), the Sydney Biennale (2010), the Gwangju Biennale (2006), the Istanbul Biennial (2003), the Johannesburg Biennial (1995), and the Carnegie International (2004). Rasdjarmrearnsook is also a respected professor in Thailand's leading art program at Chiang Mai University, where she has recently spearheaded one of the first media and theory departments in the country.
The exhibition is curated by Ruba Katrib, SculptureCenter Curator.
This presentation has been supported in part by funds raised through a successful Kickstarter campaign, part of the Art Basel Crowdfunding Initiative.
Araya Rasdjarmrearnsook is presented with the generous support of the Asian Cultural Council and many individual contributions. SculptureCenter's 2014/15 exhibition program is underwritten by UOVO Fine Art Storage.
Johann König, Berlin is pleased to present “sunrise”, American artist Justin Matherly’s second solo exhibition at the gallery.
An oscillation of proximity exists in Matherly's prodigious cast sculptures and large-scale photo work. At the furthest distance of the landscape, we see the sunrise; it rises towards us while appearing to retreat as we move towards the horizon line. Such constant, paradoxical shifting is allegoric of the kinetic nature in Matherly’s work: meaning and source are molten, and each degrades as the final composition takes form through a decidedly flexible casting process. An array of soft materials, such as malleable Treegators (slow release watering bags for foliage), allow for an additional element of chance in reference to the specificity of the carved form crafted from industrial Styrofoam.
For the first time, Matherly presents what appears to be a documentary photograph of a sunrise at an excavation site of the temple-tomb, Nemrud Dagi, in southeastern Turkey. It is a pointed departure from his other two-dimensional works, which endure a process of heavy abstraction from their source material. Here a photograph is presented seemingly unedited, captured by the artist on site. Yet a small instance recalls that representation is never without manipulation – collaged little blue flowers punctuate the bottom left corner of this. This addition is swathed in connotative lineages: among these, it is a recurring symbol in German Romanticism and a provocative emblem for the unreachable.
“Sunrise” dominates the gallery. Divinities Zeus and Apollo are depicted with the Hellenic King Antiochus I, as Matherly continues his investigation of dexiosis reliefs – in other words, right-handed clasps. An action of political alignment, it is both loaded and impoverished of meaning by its overuse and ubiquity. The ambulatory supports which recur in Matherly's works are central to the work, propping up the rising facade and revealing the hollowness and holes that belie the sculptures weight. It is ridden with pathos; the walkers and crutches seem to be in a perpetual state of exertion. Backing away from this piece, the pictorial handshake, the extended readymade arms and legs that support sunrise gives the work a humanistic corporeality – in essence, it is a gesture.
A more literal deconstruction exists in a small-scale sculpture propped against the wall. Clinical equipment, concrete, and a rock collected from the Turkish site compose a work that is not self-supportive, but relies instead on the gallery wall. It is a conjurer of fragmented histories and sources also, which lean on each other for context and support in contingent networks of meanings, however flexible. Sources are generated, then self-generating; Objects cycle along a mythic, twisting human narrative; Meanings shift ad infinitum somewhere between the sacred and the hollow.
Justin Matherly (born 1972) lives and works in Brooklyn. His sculpture “Sunrise” was presented in the Unlimited sector of Art Basel (2013). His work has been extensively exhibited in New York, at Paula Cooper Gallery (2013), with the Public Art Fund in City Hall Park (Common Ground, 2012), Bureau (2011), or the Sculpture Center, (2010). Justin Matherly’s next exhibition will be in February 2015 at Vienna Secession.