New York, NY - 28 March 2017: Sperone Westwater is pleased to present
Andrew Sendor: Saturday's Ascent, an exhibition of twelve paintings accompanied by an audio narration. This is the artist's third solo show with the gallery.
Sendor's work is characterized by a meticulous draftsmanship that serves to illuminate his ongoing engagement with the interrelation of photorealism and invented narrative structures. The artist introduces us to a group of fictional characters in a storyline whose genesis derives from a unique creative process: Sendor scripted, produced, directed, and documented a series of performances recounting the life and times of his eccentric cast. These performances ultimately become the basis for the paintings and audio component. The continuously looped audio narration envelops the viewer and offers clarifying details inextricably linked to the paintings' subject matter.
Sendor's story revolves around a young woman called Saturday, a free-spirited professional mountain climber and horse trainer. A disjunctive sequence of events, stemming from her mysterious disappearance on a climbing expedition at Watkins Range in Greenland, leads her family and friends to presume the worst. Sendor's portrayals electrify the psychological drama of Saturday's memories, relationships, and prophesies.
The blue, monochromatic palette in several of Sendor's recent paintings represents an evolution from the artist's signature black and white paintings. His interest in the physicality and materiality of his paintings is increasingly demonstrated by their presentation. These meticulously painted works are executed in oil on matte white Plexiglass and presented in purposeful artist frames or occasionally on shelves.
Born in 1977, Andrew Sendor currently lives and works in New York City. In 2016, the Eli and Edythe Broad Art Museum at Michigan State University held a solo survey of his work in the exhibition ANDREW SENDOR Paintings, Drawings and a Film which was accompanied by a catalogue featuring an essay by Caitlin Doherty. He has presented solo gallery exhibitions in New York, Los Angeles, and Copenhagen. His works have been included in numerous museum exhibitions, including the Funen Art Museum, Odense, Denmark; Hudson Valley Center for Contemporary Art, Peekskill, NY; Knoxville Museum of Art, Knoxville, TN; Kemper Museum of Contemporary Art, Kansas City, MO; and the ARKEN Museum of Art, Ishøj, Denmark. In 2014, Sendor mounted a solo exhibition in conjunction with his residency at The Wright Museum, Beloit College. His works are in private and public collections worldwide.
Andrew Sendor: Saturday's Ascent is on view at Sperone Westwater from 30 March - 29 April 2017. For more information, please contact:
For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and ‘the domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.
A group of works from the recent past and present has been gathered and joined to a weekly live programme. Visual vocabularies range from bodily waste and bacterial growth to intimate self-imaging. Sculptural forms make reference to temporary shelter and collective occupation, while films are diaristic, improvised and quasi-fictional. The archive is invoked as a ‘homemaking’ space. For instance, photographic ‘genomegrams’ by Fiona Clark describe a personal response to trauma, Ingrid Pollard’s film reflects on her parents' correspondence and Barbara T. Smith’s books comprise homemade Xerox impressions of the artist’s body and images of her children. Installations by Martine Syms and Ben Burgis & Ksenia Pedan work directly with the buildings’ fabric, while a film by Jenna Bliss – commissioned for the exhibition – explores the class, race and gender dynamics of drug use within domestic contexts in Puerto Rico and New York. Colonial legacies and indigenous activism are explored as well as gentrification and familial histories. The exhibition provides a partial map of the domestic as an unstable zone.
A publication has been made for the exhibition in which Amy Tobin builds a picture of a little-documented exhibition titled A Woman’s Place, made in 1974 by a group of artists in a squatted house and women’s centre in South London.
The live programme of performances, seminars, screenings and workshops extends the project to include, amongst other concerns, co-housing, modular architecture, non-monogamy, the domestic in narrative film and fiction, living with illness and health activism.
Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Phoebe Blatton, Rizvana Bradley, Jenna Bliss, Ben Burgis & Ksenia Pedan, Autumn Chacon, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Alice Jones, Bhanu Kapil, Morag Keil & Georgie Nettell, Rudy Loewe, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Christine Roche, RUSS, Sisters of Jam, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.
The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.
Pékin Fine Arts is pleased to host our 1nd solo exhibition by Liu Di (b. 1985 Shanxi Province), the 1st prize winner, among 80 international photographers, of the prestigious Lacoste Elysée Prize 2010, dedicated to young photographers, and given in partnership with the Musée de l’Elysée (Lausanne, Switzerland).
His 1st solo exhibition in Beijing will début two new 3D animation videos, “The Weight of Oneself” (2017), and “A Stubbornly Persistent Illusion” (2017), alongside recent photo works.
Liu Di’s work with 3D digital video and related techniques focuses on themes long pursued in his photo works; namely, critiquing the conflicting relationship between nature and human society. Abnormal growth underlies Liu Di’s work, as inevitable by-product of hyper-fast economies fueled by widespread urbanization.
With subtle humour and science fiction-like stylizing, the artist still manages to pay homage to traditional landscape photography and nature photography. His subjects “pose” in peculiar visions of a sci-fi-meets-magical-realism world where nothing and no one is entirely normal or healthy. Wierdly cute in their otherworldly and distorted forms, animals and humans float in an unreal realm, amidst familiar urban landscapes, filled with monumental buildings, public housing, run-down courtyards, bath houses, and parks of the imagination.
The artist argues, “We wake up and regain alertness only after stereotypes are broken down”. “The appearance of huge animals points to the unreliability of common sense, showing the flaws in how we perceive the world.” “With a new awareness of our incomplete understanding of objective reality, we begin to doubt the narrow and limited subjective world. Only at this moment can we get closer to what is real and perceive the more lasting and valuable things beyond the trivialities of daily life.”
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