Film (SpazioA), 2017
set of 33 Rosco CalColor lighting gels, dimensions variable, installation views from “Waiting for the Sun,” curated by Martha Kirszenbaum, May 13 – July 21, 2017
photos Camilla Maria Santini
Waiting for the Sun
curated by Martha Kirszenbaum
May 13, 2017 – 6pm
May 14, 2017 – 10am
Tue – Sat 11am – 2pm / 15pm – 19pm or by appointment
SpazioA is proud to present on a special double opening on Saturday May 13, 2017, 6pm, and Sunday May 14, 2017, 10am, Waiting for the Sun, an exhibition curated by Martha Kirszenbaum.
Waiting for the Sun brings together five artists whose practices rethink our relationship to fiction and cinematic narratives. Distorting our perceptions and expectations as a viewer, a reader or a body performing in space, the works in the exhibition manipulate fact and fantasy, reality and representation of objects, light, and social situations.
Combining depiction of desire, oneirism, and a fantasized description of nature, Laure Prouvost’s (b. 1978 in Lille, France, lives and works in London and Antwerp) films, installations, drawings and tapestries imperil our relation to language and comprehension through the construction of complex narratives and surrealist moments that feed her unusual approach to the conventions of film and the image. The exhibition presents two videos projected as a visual diptych and composed of similar twitchy images opposing nature and technology, rural and urban spaces. Prouvost has imagined two stories of teenagers filmed in the French countryside and in a parking lot of Downtown Los Angeles. At the age of their first flirts, they dream of freedom and escapism. This landscape of adolescence conveys a narrative made of fragments of texts, scraps of images and unpredictable subtitles, bringing corrupt reveries to life through humor and mistranslations. Similarly, in an urban crash between a botanic life and human construction, Matthew Lutz-Kinoy’s (b. 1984 in New York City, USA, lives and works in Los Angeles) multifaceted practice, swaying from painting to poetry, theater performance to ceramics, concentrates on our bodies and the way they shape the space they inhabit. His installation comprises two canvases acting as a physical frame guiding us inside the room. This diptych exposes an interest in sculpted space and duration seen through the lens of a filmic positive / negative: on the one hand a liquid floral painting with its reverse side composed of a silk-screen replicating a Zoe Leonard photograph, and on the opposing wall, the same silk-screen appears on the visible side of another canvas. This duality shows a space of doubling or transparency; the negative as index, seeing through the work to its reverse side to reveal a more comprehensive image.
Dora Budor’s (b. 1984 in Zagreb, Croatia, lives and works in New York) installations articulate a fascination for deconstructing the conventions and memories of cinema’s narratives and techniques, its props and poetry, its distance and desire, reinvesting them into physiological situations. Fascinated with apocalyptic manifestations and inspired by the year 1816, also called “the year with no summer” that saw climatic abnormalities provoke a severe volcanic winter, Budor has conceived a diffuser of fake ash, blowing gray powder in the gallery and continuously reacting to our human presence and physicality. In the center of the space, the artist has disposed a white modular sofa Superonda, designed by the Tuscan architects group Archizoom Associati in 1966 and emphasizing on cinematic momentum and radical utopian narratives. In a comparable way, Margaret Honda (b. 1961 in San Diego, lives and works in Los Angeles) blurs the lines between the process and the result, the historicity of the objects and their autonomy in time and space. Working with a complete set of Rosco CalColor lighting gels, normally used in film production, Honda covers all the windows in the project space with a progression of 66 equal-sized frames, ordered according to Rosco’s numbering system. The gels’ different colors and saturations subtly alter the view of the outside world while also transforming the naturally golden Tuscan light inside the exhibition space.
Finally, in his uncanny and haunting works on paper made with pencil and marker, Reza Shafahi (b. 1940 in Saveh, Iran, lives and works in Tehran) oscillates between an imagery echoing traditional Persian miniature or suggesting tropes developed in the poetry of Omar Khayyam or Hafez, and a modern palette of bright colors and dancing shapes evoking this of Henri Matisse. Some of his drawings express dark erotic fantasies while others are tainted with surrealism and recall cinematic scenes.
Matthew Lutz-Kinoy (b. 1984 in New York) lives and works in Los Angeles. He studied at the Rijksakademie, Amsterdam (2010) and received his BFA from Cooper Union, New York (2007). Recent solo exhibitions and projects include: Mendes Wood DM, Saõ Paulo (2017); MoMA PS1 (2016); Freedman Fitzpatrick (2016); Kunsthalle Zurich (2015); Elaine MGK, Basel (2013); and KERAMIKOS – a touring exhibition with Natsuko Uchino at the Kunsthal Charlottenborg; Kunsthalle Baden-Baden; Elaine Museum für Gegenwarts Kunst, Basel and Villa Romana Florence (2012-2013). He has staged performances at the Nomas Foundation, Rome; Stedelijk Museum, Amsterdam; and the New Museum, New York. His videos have been screened at the Künstlerhaus Stuttgart, Berlinale Film Festival; New Museum, New York; and White Chapel Gallery, London.
Laure Prouvost (b.1978 in Croix, France) lives and works in London, UK and Antwerp, Belgium. Her practice encompasses video, sound, objects and installation. Selected solo exhibitions include: Pirelli HangarBiocca, Milan (2016–17); Le Consortium, Dijon (2016); Fahrenheit, Los Angeles (2016); Red Brick Art Museum, Beijing (2016); CAPC Musée d’Art Contemporain de Bordeaux (2015); Neuer Berliner Kunstverein, Berlin (2014); New Museum, New York (2014) and Tate Britain, London (2013). Selected group exhibitions include: British Art Show 8, various venues UK, (2015–7); Haus Der Kunst, Munich (2015); Taipei Biennial (2014); Nouveau Musée National de Monaco (2014) and Sculpture Center, New York (2011). Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize 2013.
Margaret Honda (b.1961 in San Diego, California) received an M.A. in material culture and a B.A. in art history. Her work in sculpture and film has recently been the subject of one-person exhibitions at Künstlerhaus Bremen and Triangle France, Marseille, and has been included in group exhibitions at the Hammer Museum, Los Angeles, and SPIKE, Berlin. Her films have screened in the US and internationally, in museums and festivals including the Whitney Museum of American Art, New York; Courtisane festival, Ghent; REDCAT, Los Angeles; Berlin International Film Festival; Toronto International Film Festival; and BFI London Film Festival. She lives in Los Angeles.
Dora Budor (b. 1984 in Croatia) lives and works in New York. Recently Budor took part in institutional group exhibitions “Dreamlands: Immersive Cinema and Art, 1905–2016” at The Whitney Museum of American Art (New York), “Streams of Warm Impermanence” at David Roberts Art Foundation (London), “9th Berlin Biennial” at KW (Berlin), “Fade In: Int. Art Gallery – Day”, Swiss Institute (New York), “Inhuman” at Museum Fridericianum (Kassel), and “DIDING – An Interior That Remains an Exterior?” at Halle für Kunst & Medien (Graz). Her selected solo exhibitions include Swiss Institute (New York), Ramiken Crucible (New York), and New Galerie (Paris). Budor was awarded Rema Hort Emerging Art Grant in 2014, and has participated in panel discussions at Judd Foundation, Art Basel Miami Salon and Whitney Museum of American Art. Recent commissions include performance piece for Frieze Projects and public sculpture on the High Line (both in New York), and she will participate in forthcoming group exhibitions at Palais de Tokyo, (France), Vienna Biennale (Austria), and Moscow Biennale (Russia).
Reza Shafahi (b. 1940 in Saveh, Iran) lives and works in Tehran. A self-taught artist, he worked as a trained wrestler, and started painting in 2013 at the ripe old age of 72 encouraged to pursue this career by his son. He first drew images on paper with pencil and marker, depicting mostly subjective forms and physiognomies, but later his practice became mysterious in content, like the paintings and drawings he now produces on a regular basis. Literature, Khayyam poems, cinema, television, photography and world news have had a great influence on the formation of his work, but what is actually seen by the viewer seems far removed from the present world, and appears instead to encapsulate a hidden life of fantasy and dark eroticism. His work has been exhibited in the group exhibitions at Magic of Persia Foundation, Dubai (2015) and at Marlborough Gallery, New York (2015). Solos exhibitions include From Water to Lemon Juice at Erratum Galerie in Berlin (2016).
Thank you to the Institut Français Firenze, Centro Studi Poltronova and Centro Pecci Prato for their support.