New Rocks Upon the Beach
6 maj - 25 jun 2016The artists in this shared exhibition use themselves, their bodies, traces of life or the legacy of their precursors as material to reflect upon. If it could be said, very much as the outright teasing of measures taken between everyday life and the fabricated space of art. Through different kinds of conceptual crusades, the artists prompt new associations or redefinitions between art’s potential actuality and virtuality – to uncover the contextual and historical relationships of unfulfilled ventures in contemporary art.
The artists in this shared exhibition use themselves, their bodies, traces of life or the legacy of their precursors as material to reflect upon. If it could be said, very much as the outright teasing of measures taken between everyday life and the fabricated space of art. Through different kinds of conceptual crusades, the artists prompt new associations or redefinitions between art’s potential actuality and virtuality – to uncover the contextual and historical relationships of unfulfilled ventures in contemporary art.
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Together, the works in the exhibition, balance on the constructed and deconstructed conception of form and art. Through self-conscious, self-referential traces of the artist’s presence/mind, the works suggest new ways of conversing with the exhibition guest. Like ongoing dialectical movements, the selected artworks, operate in the intermezzo of art’s own opposing propositions and the forwarding of unrealized contradictions inherent to both the material and mental experiences of art.
The thinking exercises introduced by the works suggest new openings – although seen primarily from within art’s own reference and not as a limitation of art as “art” – of the range of complexity and registration given in everyday representation. Even if the latter fails to “index” the ambivalence that is inherent in form and language, reading and understanding.
New Rocks Upon the Beach, is both a distributed and retitled sampling of Lawrence Weiner’s famous pay-off line, from 1988. But instead of inviting guests to imagine this virtual gentrified beach, the artists in this new exhibition conduct their own foreclosures over undiscovered real estate in conceptual art.
Talk with Travis Diehl and Rasmus Røhling on Saturday, 18. June at 14:00
In conversation on Allan Sekula’s War Without Bodies, Vito Acconci’s proposal for the New World Trade Center and the notion of ostensive “fingering” within artistic practices.
In connection with our current exhibition New Rocks Upon the Beach, we are proud to introduce a conversation between L.A. based writer and critic Travis Diehl and the currently exhibiting at SixtyEight, artist Rasmus Røhling. The conversation will depart from the propositions of artists such as Allan Sekula’s War Without Bodies, Vito Acconci’s proposal for the New World Trade Center, in addition to the work of artist such as Nancy Spero, Caravaggio, Robert Mapplethorpe and others to reflect on the notion of ostension or what Diehl/Røhling refer to as “a kind of modernist didacticism a la show-don’t-tell gone wrong.”
Travis Diehl is a critic and writer who lives in Los Angeles. He is a frequent contributor to Frieze, Artforum, and X-TRA Contemporary Arts Quarterly. His writing appears in Art+Agenda, Aperture, Even, Objektiv, Art Papers, CARLA, the Los Angeles Review of Books, the Brooklyn Rail, East of Borneo, and Salon. He is a 2013 recipient of the Creative Capital / Andy Warhol Foundation Arts Writers Grant. He serves on the editorial board of X-TRA Contemporary Arts Quarterly, and is founding editor of the artist-run arts journal Prism of Reality. He holds an MFA in Writing and Photo/Media from the California Institute of the Arts.
Rasmus Røhling is an artist. Recent exhibitions include: Travis, mertropcs, Los Angeles (2015); A.U.T.O.E.N.U.C.L.E.A.T.I.O.N.
Kilde: SixtyEight Art Institute
1123 København K