Cerith Wyn Evans


Edité par Galerie Daniel Buchholz and Christopher Muller Galerie Daniel Buchholz and Christopher Muller, 2001, 2001
Neuf(s) / Soft cover / Quantité : 1
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Titre : Cerith Wyn Evans

Éditeur : Galerie Daniel Buchholz and Christopher Muller Galerie Daniel Buchholz and Christopher Muller, 2001

Date d'édition : 2001

Reliure : Soft cover

Etat du livre : New

Description :

Catalogue of solo exhibition. YBA Cerith Wyn Evans is the most intellectual of the gang, his heart is in the here and now but equally with Situationism, Dada, Burroughsian quoting, whilst at the same time illumination is his theme, whether in film or photography, word or e.g., ultraviolet green image only visible when the lights are out (the gallery had to be cajoled in NYC to turn them off so one could see the Situationist spoof cartoon image properly, but they complied). Evans 20 years ago already at White Cube Gallery (when it was still a white cube, on St James’) showed inverted mirrors (copied, badly, by some British sculptor recently, clunky and heavy-handed, without a hint of Evans’s light touch). Evans’s mirrors were manufactured at the factory-lab that made the Hubbell telescope, in an airtight or rather airless atmosphere, the mirroring material (alu something or other) shot from pellets in the void chamber, producing thereby a reflective surface like few others in sharpness and precision of depth – as you move away from the mirror your image, your self, your figure, flips upside down, or rather downside up, putting you as perceiver in position of not knowing any more perception’s validity as such. And knowing ones self perception no more either. At a loss, but there’s the gain in the new, until that’s removed as you recede from it, the mirror, it the object you the subject having transformed from it the subject you the (disappearing) object. This catalogue of texts, edition of 20 signed and numbered copies, comes with a folded silver balloon made by the same factory that made the original Warhol Clouds (Balloons) in 1964, and which are impossible to get even remade, as they’re only made for the Merce Ciunnningham theatre company’s production of Rain Dance, no not rain dance, the other one, maybe it’s called Clouds anyway each one is made so it cannot be de-inflated once inflated, thus not marketable. Each time one breaks they get another after returning the destroyed one, and the Warhol foundation checks each one. Somehow Cerith – having done a show that was to include these inflatables in a Swiss alpine village, subsidized by some influential banker – got permission for that show to have 40 balloons made by the same factory and shown in that one show, for the duration, then 20 were destroyed and the other twenty were to be sold with the limited edition catalogue of the show that followed at Buchholz, though no balloons were shown at that show in Cologne. All very complex but equally amazing, the shiny surface of the flat folded silver of the balloon no less mysterious than the floating pillows, "clouds" as Warhol named them. (Saw Warhol’s silver pillows at Castelli Gallery when it was still in 1965 uptown in NYC, 77th Street: one room with balloons floating as filled with helium, touching the ceiling and one another, the other room plastered with yellow/pink cows wallpaper floor to ceiling a momentary shock at first then one reasserted oneself as perceiving viewer. In one case, the first room, endless wallpaper of a realistic cow, though the pink cow on yellow outlined for emphasis with a separate silkscreen-printing of bright orange around the cow’s head, never mentioned but certainly there and necessitating extra labour and cost for what may seem ephemeral or invisible. Warhol’s insistence on the specificity was evident there even in the "throwaway" aesthetic of rolls of wallpaper repetition. The silver helium pillows in the other room floating silently most touching each other and some touching the ceiling, all change based on the movement of the viewers in the gallery space, or a door shutting or opening, slight changes of air volume affecting them, cause and effect, aesthetic use rather than endlessly just exchange or telos. Amazing. And Cerith Wyn Evans nearly 40 years later takes that into account when re-creating his own effects). For related work by Evans, see also documentation of his show at the short li. N° de réf. du libraire INDE-C70754

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