Oliver Laric, Frieze Stock Footage

Oliver Laric, "Frieze Stock Footage"

Oliver Laric

(b. 1981, Germany)

 

“Frieze Stock Footage” 2011
HD video projection

Images Rendered Bare. Vacant. Recognizable.

 

Oliver Laric’s “Frieze Stock Footage” begins with a commission from the Frieze Foundation and an impressive budget. Rather than plan a series of events or erect a monumental sculpture as per art fair custom, Laric decided to source two of the most expensive cameras in the world—the Arri Alexa and Phantom—to create an online library of free stock media. The footage, recorded during 2011’s Frieze Art Fair, is public domain material and can be downloaded for free and used without restrictions. All footage shown within “Images Rendered Bare…” can be downloaded for free at http://friezestockfootage.friezeartfair.com/.

Laric’s previous works deal with the politics of the image in the digital age. His video “Versions” (2009-ongoing) meditates on the lack of autonomy of the image in the digital age, and has been exhibited widely. Laric is co-founder of the well-respected image-only online exhibition space vvork.com. Recent exhibitions include Kopienkritik at Skulpturhalle Basel, curated by Raffael Dörig, and a solo exhibition at Seventeen. Laric lives and works in Berlin and is represented by Seventeen Gallery in London.

Sean Raspet, Arrangement 63

Sean Raspet, “Arrangement 63 (OBSCENITY TRIAL (2)), ((2007)-2012) 2011”

Sean Raspet

(b.1981, United States)

 

“Untitled (Police Incident (2)) 3, ((2007-2012)” 2007-2011”
Commercially printed mugs, Styrofoam shipping containers
“Arrangement 63 (OBSCENITY TRIAL (2)), ((2007)-2012) 2011”
Commercially printed vinyl and mesh vinyl banners, electrical conduit, steel cable

Images Rendered Bare. Vacant. Recognizable.

 

Sean Raspet’s work focuses on circularities of time and logic that operate across multiple spheres of everyday life. His work considers the ‘extra-material’ materiality of processes of circulation and administration, as well as the parallel cycles of financial capital and the image economy. Present here is the idea of stock photography as an all-encompassing parallel world–one that exhibits an autonomous, self-reflexive, structure analogous to a feedback loop or mise en abyme. With his installation of commercially produced banners and mugs, Raspet posits that both photography and finance are systems that, through their internal logics, create new, fabricated realities.

Raspet’s recent solo exhibitions include Société (Berlin), The Kitchen, and Daniel Reich Gallery. His work is currently on view at SculptureCenter’s In Practice exhibition. Currently pursuing an MFA at UCLA, Raspet is represented by Société. He lives and works in Los Angeles.

Rachel Reupke, 10 Seconds or Greater

Rachel Reupke, "10 Seconds or Greater"

Rachel Reupke

(b. 1971, England)

 

“10 Seconds or Greater,” 2009, 15 minutes
Color, Sound (stereo), HD Video

Images Rendered Bare. Vacant. Recognizable.

 

Formally based on the production of royalty-free stock footage, “10 Seconds or Greater” maps the logical progression of a director through a check list of popular scenarios designed to illustrate such commercially lucrative concepts as “communication,” “relaxation” and “healthy living.” Four young actors, two women and two men, good-looking, slim and sensibly dressed, perform a series of domestic rituals in their ready-furnished apartment. From shot to shot, drinking red wine, preparing food, using wireless technology and working out, progressive variations in role and nuance of social convention are played out while superficially mirroring contemporary trends and popular symbols of personal and professional success.

Compiled as an “assembly edit” of shots, long fluid camera movements remain whole, leaving visible all available material. The result is a film whose attention wanders between action and art direction, laying equal emphasis on props, performance, emotional and technical content. “10 Seconds or Greater” was commissioned by Picture This and Film London Artists’ Moving Image Network (FLAMIN) as part of the Bristol Mean Time Residency, with additional support from The Elephant Trust.

Reupke lives and works in London. Her work has been shown internationally including screenings at The Whitechapel Gallery (London), ICA (London), Tate Modern (London) and Pompidou Centre (Paris). Her work is distributed by LUX.

Steve Bishop, ø IV

Steve Bishop, "ø IV"

Steve Bishop

(b. 1983 Toronto, Canada)

 
“ø IV,” 2011
Stainless steel mirrored pan, 20 liters of Cinnamint Listerine
3/4″ x 57″ x 35″
Performance Anxiety
 

Steve Bishop often works in serial format, revisiting and reworking visual tropes as an ongoing investigation of material and form. Earlier series include “My Work Here is Done,” “As If You Could Only Kill Time Without Injuring Eternity,” and “Φ” (2010-ongoing), on view here. Φ (the Greek letter Phi) is the symbol for the mathematical concept known as the golden ratio, which has informed art and architecture for millenia. When used as a guideline for composition, the exacting proportions of “golden section” or “golden rectangle” are said to maximize visual pleasure. While Bishop’s Φ showcases this ideal geometry, Listerine, the other component of the sculpture, subverts those feelings by overwhelming viewers with an olfactory assault, exemplifying the wryness constant throughout Bishop’s work. Humorously theatrical in its decontextualization of materials (a nod to critic Michael Fried’s indictment of the visual tradition Bishop’s work continues), Bishop embraces the reality of objects employed in his work. For Performance Anxiety, Bishop has created a new, geographically specific edition of Φ, using a vivid purple-hued flavor of the mouthwash that is only available in the United States. The show is also his first US exhibition; his work has previously been shown at the Zabludowicz Collection, Saatchi Gallery, and numerous locations throughout the United Kingdom. Bishop holds an MA from the Royal College of Art and works in London.

Christopher Chiappa, Speed Stick

Christopher Chiappa, "Speed Stick"

Christopher Chiappa

(b. 1970 West Chester, Pennsylvania)

 

“Speed Stick,” 2008
16 cast speedsticks
Performance Anxiety

 

Christopher Chiappa is a conceptual artist based in New York. His work considers the relationship between daily life, consumption and the decline of American exceptionalism. Speed Stick (2008) continues a motif of Chiappa’s, using a readily available mass-produced good and recasting it with art historical references. Stick’s arc, made from deodorant colored in a saturated hue, recalls the rings of color ubiquitous in Frank Stella’s prints and shaped canvases of the late 1960s and early 1970s. Chiappa presents the material in extant, literal form, preserving the product’s packaging and contents while aestheticizing an otherwise mundane object and rendering it completely useless. Chiappa has participated in exhibitions at Kate Werble, Andrea Rosen, Frederick Freiser, and Exit Art galleries in New York. A graduate of Skowhegan School of Painting and Sculpture, he is represented by Kate Werble Gallery in New York.

Ben Schumacher, Blue Agave

Ben Schumacher, "Blue Agave"

Ben Schumacher

(b. 1985, Kitchener, Canada)

 

“Blue Agave,” 2011
Glass, Stur-D Vitamin water, water, silicone adhesive, metal wall mounts
6′x12″x4″
Performance Anxiety

 

Sculptor Ben Schumacher’s Blue Demon (2010), named after a variety of the energy drink Full Throttle, utilizes sealed glass panels, window tinting, and the sports drink to create a gradient totem recalling both the traditional painterly technique as well as user-generated web 1.0 images. Using equal parts newfound and conventional media, Schumacher often juxtaposes a sculptural armature (often beams and wire mesh from window screening) with contemporary materials, such as the performance-enhancing beverage used in Blue Demon, to suggest the potential effectiveness of the language of traditional sculpture for analyzing the continually reinvented condition of the present. Layers of transparency and textures exist at the center of his work, the ends of which occupy both physical and virtual space. With Iman Issa, Schumacher was recently featured in a two-person exhibition at SculptureCenter in Long Island City, New York. He lives and works in Brooklyn.

Timur Si Qin, Axe Effect

Timur Si Qin, "Axe Effect"

Timur Si-Qin

(b. 1984 Berlin, Germany)

 

“Axe Effect”, 2011
Fantasy Sword, Rise Axe bodywash, Cool Metal Axe bodywash, Phoenix Axe bodywash , pedestal, Cork-Flex handle bar tape
“Axe Effect”, 2011
Three samurai swords, wall mounted samurai sword rack, 4 Click Axe bodywash, 4 Smoothing Axe bodywash, 4 Sensitive Axe bodywash
Performance Anxiety

 

In the work of Timur Si-Qin, symbols of excess and luxury are used to critique the trappings of a globalized society in the digital age. He frequently positions hygiene products as the axis of his commentary, and examines the relationship between the ritualized use of these products and their purported improvement of life quality, often acting as a contemporary manifestation of Darwin’s theory of natural selection. In particular, Axe Effect (2011)’s various iterations refer to an advertising campaign that mirrored consumer desire by crafting an alluring fiction around the Axe line of products for its intended audience. Si-Qin’s oeuvre has rich visual associations, from Barnett Newman’s “zips” and Lynda Benglis’ pools of latex to the column structures of Donald Judd and Anne Truitt. Based in Berlin, Si-Qin has been exhibited widely in Europe, including two current solo exhibitions at Société, Berlin; and Fluxia, Milan, and has been featured stateside in exhibitions at Reference (Richmond, VA); Contemporary Art Center (Cincinnati, OH); California State University (Sacramento, CA); and the Sullivan Galleries at the School of the Art Institute (Chicago, IL). Performance Anxiety marks Si-Qin’s first New York exhibition.

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