Frontal Views of Four Circumferential Volumes Clad in Color-aid Papers (actual size), 2012

part of the group exhibition “In Former Times,” PØST – KAMIKAZE, July 12, 2012, curated by Kaucyila Brooke

Frontal Views of Four Circumferential Volumes Clad in Color-aid Papers (actual size), 2012

archival inkjet prints; four elements, each 11 x 14 in / 28 x 36 cm; edition of 1

Model for Carved Built-up Shelf, 2000-2012

polyethylene foam, acrylic, color-aid paper; 29 x 24 x 22 in / 74 x 61 x 56 cm

installation view

In Former Times

July 12, 2012

7-10pm

PØST – KAMIKAZE

1904 East Seventh Place

Los Angeles, CA 900212

You woke up at 5:15 am.
You said you loved me.
You built an empire.
You designed clothes for miners.
You made a work out of felt.
You were the head of the family.
You were printed on a page to illustrate a story about global warming.
We said Neanderthal when we meant stupid.
We thought we were the most advanced.
We believed that we lived in the Garden.
We needed you to be happy.
We wrote that knowledge was power.
We fought to be recognized in the grand historical narrative.
I would have cried myself to sleep.
I would not have voted for you.
I thought you were a God and kissed your golden lips after kneeling at your altar.
I trained your tendrils to cover the iron bars of her gate.
I saw you sitting on a dusty shop window in Vienna.

We thought we knew one another.

In Former Times brings together the work of four artists who invoke the past either through the use of materials or by referring to history.  Kaucyila Brooke shows a selection from her recent body of work “After Morandi and after GLH”, which emulates the vase paintings of Giorgio Morandi and pays homage to GLH the initials of the artist’s father who had recently passed away. Showcasing vases from the artist’s collection the series recalls public and private moments of an “after“, that essential latency of all photography.   Young Chung offers de-categorized rearrangements of Robert Mapplethorpe’s decorum edited and reproduced in his exhibition catalog published by the Whitney Museum of American Art in 1988. Chung’s composite cutouts of Mapplethorpe’s bodies of flowers, nudes, and black and white portraits, pay tribute to the late artist’s re-synthesis of classical forms inflected with codes of difference. Margaret Honda will include “Frontal Views of Four Circumferential Volumes Clad in Color-aid Papers (actual size)”, a new series of black and white photographs of paper sculptures, and “Model for Carved Built-up Shelf”, a foam mock-up for a bronze sculpture. Each photograph is a monochromatic, single-sided view of a polychromed solid, a reduced aspect of the subject as it already exists. The foam mock-up is an object that will dissipate during the production of its soon-to-be successor.  Johannes Schweiger will put a site specific arrangement of film, textile and prints of the project “industrial permanence: basic tissues 2, white line, fake”, recently shown at the MUMOK Museum of Modern Art in Vienna, on display.

clockwise: Young Chung, Johannes Schweiger, Margaret Honda

clockwise from bottom: Johannes Schweiger, Margaret Honda, Kaucyila Brooke, Young Chung

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