#meredith rosen gallery

[garadinervi]

Karl Gerstner, Color Sound, (acrylic on cardboard), ca. 1970s [Meredith Rosen Gallery, New York, NY. © Karl Gerstner]

Exhibition: Karl Gerstner: Color Sound, Meredith Rosen Gallery, New York, NY, February 16 – March 23, 2024

#art #color theory #color study #geometry #pattern #structure #cardboard #exhibition #karl gerstner #meredith rosen gallery #1970s #2020s

[abwwia]

Installation view of “Continental Breakfast” at Meredith Rosen Gallery, New York, 2023. Performers: Sally Von Rosen and Madalina Stanescu. Photos: Dario Lasagni. Courtesy the artist, Kraupa-Tuskany Zeidler, Berlin and Meredith Rosen Gallery, New York.

#Sally Von Rosen #Madalina Stanescu. #Meredith Rosen Gallery #art #contemporary

[wxmatija]

anna uddenberg at meredith rosen gallery, new york photography by dario lasagni  rework by matija gabrilo, 2023

[davidpaulross]

https://www.contemporaryartdaily.com/project/carla-accardi-tam-ochiai-at-meredith-rosen-gallery-new-york-31033

[painel-semantico]

Anna Uddenberg, Continental Breakfast, Meredith Rosen Gallery. Photo: Dario Lasagni.

[blakegopnik]

THE FRIDAY PIC shows a model “activating” one of the new sculptures by Anna Uddenberg, from her show at Meredith Rosen Gallery on 80th Street in New York.

Uddenberg’s show inspired me to write a few words about it — and its concepts — for this weekend’s New York Times.

Here they are:

Feel like you’re trapped inside today’s technology?

Like your tech has you twisted into a pretzel?

Like your apps have you strapped in for a ride you don’t want to take?

Then get a look at the sculptures of the Swedish Berlin-based artist Anna Uddenberg … for a perfect summing-up of how you feel.

Uddenberg’s three imposing objects in her show “Continental Breakfast” at Rosen, as immaculately crafted as any industrial prototype, look like they cross a first-class airplane seat, a gym’s pec‌t‌ machine and a gynecologist’s ‌operating‌exam table. Actually climbing into one would seem to have as much chance of causing bodily harm as curing what ails you.

But even if these sculptures invite us to think about machines and bodies — almost to feel that interaction in our muscles and bones — they also work as a powerful metaphor for what our brains are up against as A.I. asks us to mind-meld with it. Over coming months and years, real human intelligence will get as pretzeled-up with the artificial kind as our limbs could ever be in one of Uddenberg’s infernal machines.‌¶

(Photo by Dario Lasagni, via Meredith Rosen Gallery)

[fettesans]

Top, screen capture from Life-death, directed by Katharina Sieverding, 1969/2004. The project consists of 42 one by one meter C-prints in steel frames accompanied by video with the the soundtrack Kraftwerk improvised for it in early 1972. Via. Bottom, installation view and performance, Continental Breakfast by Anna Uddenberg, Premium Economy I & Premium Economy II, 2023, polylactic acid, thermoset polymer resin, electropolished stainless steel, foam boat flooring,leather, chalk paint. Each 64 x 36 x 43 inches. Photograph by Dario Lasagni. On view at Meredith Rosen Gallery, March 18th - April 29, 2023. Via.

--

The subject moves from object to object in order to avoid confronting the fact that it misses the same lost object again and again. The perpetual movement of desire obscures its rootedness in missing the object rather than obtaining it. The subject fails to see that the object is satisfying as an object and not as a possible possession. When the subject invests itself in the fantasy of obtaining the object, it avoids the monotony of the subject’s form of satisfaction. One has dissatisfaction, but one also has a variety of objects that one desires with the promise of a future satisfaction. This future satisfaction never comes, and obtaining objects brings with it an inevitable disappointment. One thought that one was obtaining the impossible lost object, but one ends up with just an ordinary empirical object that pales in comparison. I believed that the piece of chocolate cake that I just ate embodied the lost object itself before I ate it, but after having done so I realize its underwhelming ordinariness.

Todd McGowan, from Capitalism and Desire: The Psychic Cost of Free Markets, 2016. Via.

#diptych #safe new world #linked excerpts

[skowhegan]

Polly Apfelbaum (F ‘99), Lynda Benglis (F ‘78-’79, ‘99), Huma Bhabha (F ‘12),  Madeline Hollander (A ‘15), Amy Sillman (F ‘00), Anicka Yi (F ‘18) Toes, Knees, Shoulders, Heads + Butts & Guts Meredith Rosen Gallery 11 E 80th St, New York, NY 10075 June 17 - July 17

[charlesbryan]

Carla Accardi, Tam Ochiai at Meredith Rosen Gallery

http://dlvr.it/T2TmXf

[gralhando]

Rotação.

Estava numa clínica para fazer uma cirurgia. As paredes brancas eram de um tom tecnologicamente avançado que talvez ainda surgirá em algum tempo, não sei, se acontecerá estas paredes ou pinturas com nanotecnologia ativa que neutraliza patógenos e regula o equilíbrio do ar, até mesmo a temperatura pode ser controlada por isto. Na sala havia uma cadeira muito intrincada e moderna, parecia uma cadeira ginecológica. Era onde eu ficaria para o procedimento. Eu devo estar afetada pelos aparelhos da Anna Uddenberg, certeza, porque embora eu não lembre mais com precisão, posso garantir, tinha uma correlação estética entre a clínica e sua tecnologia, tal como a cadeira cirúrgica com a instalação Continental Breakfast, Meredith Rosen Gallery, New York, 2023. A isto corrobora o fato de que a cirurgia era nas costas.

No entanto, antes de eu ser colocada ou me colocar naquilo, pedi para ir ao banheiro. Pois é, tive uma vontade urgente e sabe como é. Ou não sabe. Aí demorei no banheiro fazendo o xixi. Demorei tanto que e o sonho virou. O mundo rodou, o cosmo reiniciou e mudou o mundo, mudou de realidade e perdi a cirurgia.

Saí do banheiro em um outro lugar e aconteciam umas outras coisas. O sentimento de culpa, alívio, recuperar a realidade sabotada, sei lá. Aconteceram muitas coisas.

#psicosonho

[garadinervi]

Karl Gerstner, Color Sound, (acrylic on cardboard), ca. 1970s [Meredith Rosen Gallery, New York, NY. © Karl Gerstner]

Exhibition: Karl Gerstner: Color Sound, Meredith Rosen Gallery, New York, NY, February 16 – March 23, 2024

#art #color theory #color study #geometry #pattern #structure #cardboard #exhibition #karl gerstner #meredith rosen gallery #1970s #2020s

[abwwia]

Anna Uddenberg. Photo: Valeria Herklotz. Courtesy the artist, Kraupa-Tuskany Zeidler, Berlin and Meredith Rosen Gallery, New York.

Anna Uddenberg, Journey of Self Discovery (2016). Courtesy the artist and Kraupa-Tuskany Zeidler, Berlin

#Anna Uddenberg. #Valeria Herklotz. #Journey of Self Discovery #art #contemporary

[b0dyh1gh]

[year4researchkellymclean]

Press release

Meredith Rosen Gallery

Meredith Rosen Gallery is pleased to present Hannah Black and Sophie Friedman-Pappas, an exhibition of new multidisciplinary work. The show opens on August 10 and remains on view through September 10.

The threshold where cultural and material transformation occurs, is pinned down but not fossilized. The leaking and breathing moment at which skin is restructured into leather or a storefront’s glass shatters so that a handbag might be willfully taken. An animal stripped and shaped into raw material becomes an unexpected pretext for the looting that later dislodges a purse from its status as commodity. An intimate collapse, gruesome and enraptured, reveals the clean surfaces of a post-industrial city bearing the marks of an insistence of living. In the midst of death and destruction, a catalyst for life emerges.

The exhibition includes Hannah Black’s video, Broken Windows, 2022. The substance of the video is three interviews about instances of looting during the 2020 uprising in response to George Floyd’s murder. The video’s jagged narrative structure is a result of what the artist views as the video’s “edit by the law”, having redacted the video according to legal advice. What is left unsaid haunts the dialogue—eschewing legible politics, the video focuses on the affective dimension of looting: the temporary abolition of the commodity form, vivid sensory experience and a sense of collective happiness. In a second video, Politics, also 2022, two organizers reflect—and disagree—on the “translation” of the 2020 uprising into policy and politics. Two years after the uprising, luxury stores have removed their plywood barriers, restocked their shelves of leather handbags and expensive clothing.

Sophie Friedman-Pappas’s works trace a longer history of commodification. She begins at a string of 58 tanneries in her father's family's origin of Samos, Greece, all of which have been abandoned or remade into municipal buildings, homes, and airbnbs. Their ruined presence is evidence of centralized industrialization of manufacturing. In a large hide-pile work Friedman-Pappas references the stack of skins awaiting their transformation into leather. In a new sculpture, a drawing horse has been knocked on its side and used as a crude tool to produce parchment from the tanneries’ excess waste material. A “bruised” parchment wall piece further abstracts transformations of animals into product. Friedman-Pappas’s rigorous exploration into animal processing presents an unflinching view of the abject histories of the commodities we are surrounded by, which have been neutralized by our late-capitalist environment. Artistic labor is destabilized as traditional industrial processes are pushed and pulled, abstracted into sculptures as skin gives way to surface.

Hannah Black (b. Manchester, UK) is a writer and artist working across mediums. Black received her MFA in Art Writing from Goldsmiths College, University of London in 2013 and attended the Whitney Independent Study Program in 2014. Recent exhibitions include Wheel of Fortune at gtaExhibitions, Zurich, Switzerland (2021); Beginning, End, None at ORG Project (2020); and Dede, Eberhard, Phantom at Kunstverein Braunschweig Germany (2019). Her work has been shown internationally, including presentations at Performance Space, New York (2019); Eden Eden, Berlin (2018); Centre d'Art Contemporain, Geneva (2018); Chisenhale Gallery, London (2017); mumok, Vienna (2017); and New Museum, New York (2016). Black’s writing has been published in Artforum, Texte zur Kunst, Tank, Harpers, 4 Columns and The New Inquiry. She is the author of Life (2017), co-authored with artist Juliana Huxtable, and Dark Pool Party (2015), an auto-fictional collection of poems and texts. In 2022, Capricious Publishing released her novella, Tuesday or September or the End.

Sophie Friedman-Pappas (b. 1995, New York, NY) is an MFA candidate at the University of California Los Angeles. Solo exhibitions include Transfer Station at Alyssa Davis Gallery, New York, NY, organized by Octagon (2021); and Broken Eggs, Resort, Baltimore, MD (2018). She has been included in group exhibitions at Meredith Rosen Gallery, NY (2022);

Simone Subal Gallery, New York, NY (2021); in lieu, Los Angeles, CA (2021); Cuchifritos, New York, NY (2021), and Kathryn Markel Gallery, New York, NY (2021). Friedman-Pappas has participated in residencies at the Freshkills Park Alliance, Staten Island, NY, and Pergamena Parchment and Leathers, Montgomery, NY.

11 East 80th Street New York, NY 10075

[toutpetitlaplanete]

Susan Chen - Street Cars of Desires, 2020

#Susan Chen #women artists #female artists #Meredith Rosen Gallery #art #contemporary art

[painel-semantico]

Anna Uddenberg, Continental Breakfast, Meredith Rosen Gallery. Photo: Dario Lasagni.