Jason Dodge’s (1969, Newton, US) installations, sculptures and photographs are the result of situations that he creates in connection with everyday life and his personal experience. The objects that he displays often function as traces of earlier actions, in the exhibition space or elsewhere, and instill a paradoxical feeling of presence and absence. Dodge has most recently been presented in solo exhibitions at CAC Vilnius (Lithuania); Lüttgenmeijer (Berlin, Germany); Veneklasen/Werner (Berlin, Germany); Yvon Lambert (Paris, France); Kunstverein Düsseldorf, (Germany); Massimo De Carlo (Milan, Italy); and The David Roberts Art Foundation (London, UK). Dodge lives and works in Berlin and New York.
Hadley+Maxwell have been working together since 1997. Recent presentations of their work include the solo exhibitions Improperties, Smart Project Space, Amsterdam, and who can resist a Human? who doesn’t finger lies?, YYZ, Toronto, and the group exhibitions It’s the End of the World as We Know It, La Kunsthalle Mulhouse and The End of Money, Witte de With, Rotterdam.
Allison Hrabluik lives and works in Vancouver. Her videos, sculptures, drawings, performances, and texts take a lyrical and humourous approach to narrative exploration. Often experimenting with voice of narrative construction: the fable-like quality of third-person perspective, the messy subjectivity of first-person narration, the humour and irony of allegory, magic-realist absurdity, and the wit in ‘rational’ argument. Allison’s work has been presented nationally and internationally, including exhibitions at Galerie Tatjana Pieters, Gent, Belgium; Western Bridge, Seattle, WA; The Vancouver Art Gallery; Mercer Union, Toronto; Video Pool, Winnipeg; The Kitchener-Waterloo Art Gallery, Ontario; The SAAG, Lethbridge, Alberta; Market Gallery, Glasgow, The Western Front, and the Contemporary Art Gallery, Vancouver.
Aaron Flint Jamison (b. Billings, MT, 1979) has exhibited at Culturgest (Porto), castillo/corrales (Paris), Pied a Terre (San Francisco), Open Satellite (Seattle), Midway Contemporary (Minneapolis), Marfa Book Company (Marfa, TX), Museum of Modern Art (New York), and the Center d’edition contemporaine (Geneva), among others. Jamison lives and works in Portland, OR, where he is the founder of the art center Yale Union. Jamison co-founded the artist-run center Department of Safety (2002-2010) in Anacortes, WA, and is the founder and editor of Veneer Magazine. Jamison is represented by Air de Paris.
Sam Lewitt (1981, Los Angeles, CA) is an interdisciplinary artist living and working in New York. His conceptually based practice draws on a range of source material, including found objects and materials and techniques intrinsic to photography and print mediums. His work investigates the historical and literary materiality of the image as well as ideas surrounding representation and value. Lewitt is a graduate of the Whitney Museum Independent Study Program and his work has been exhibited widely in international solo and group exhibitions. He is represented by Miguel Abreu Gallery, New York and Galerie Daniel Buchholz, Cologne.
Heather Morison (1973, Desborough, UK) and Ivan Morison (Istanbul, Turkey in 1974) work collaboratively and make art as an active engagement with materials, histories, sites and processes. Their practice incorporates activities as diverse as gardening, kite flying, skywriting and science fiction. The Morisons have made site-specific projects internationally including the establishment of an arboretum in a remote village in Wales. Their work has been exhibited widely in the UK and abroad, including Tate Britain, the Barbican and the 52nd Venice Biennale. Heather and Ivan Morison are based in Brighton, UK and Arthog, North West Wales and are represented in Canada by Clint Roenisch Gallery, Toronto.
Avigail Moss (1983, Los Angeles, CA) is a writer and artist based in Brussels. Her practice explores the relationship between the visual and the semantic. Recent projects include texts and co-organized symposia on contemporary painting and feminism. Moss holds a BA from the University of California, Los Angeles and an MFA in painting from Yale University. From 2009-10 she was a researcher in residence at the Jan van Eyck Academie in Maastricht, NL, where she investigated the role of epistolary writing in art and literature.
Pamela Rosenkranz (1979, Sils-Maria, Switzerland) lives and works in Zurich. Starting from the empirical observation of minute details and isolated gestures and movements, Rosenkranz multiplies her viewpoints, negates the very notion of centrality by creating unstable and open realities, through a constant tension between presence and absence. Selected solo exhibitions of her work include Centre d’ Art Contemporain Geneve; Karma International (Zurich); Art Statements, Art Basel; Micky Schubert (Berlin); Kunstmuseum Thun; Taro Nasu Gallery (Tokyo); and Store (London). Recent group shows include “Fax,” Drawing Center (New York); “Reduction and Suspense,” Kunstverein Bregenz; “Event Horizon,” Raster (Warsaw); “Blank Complexity,” Karma International at Parisa Kind (Frankfurt); and Manifesta7, Trentino Alto Adige/Sudtirol.
Co-operated by Stuart Bailey & David Reinfurt, Dexter Sinister constitutes a triangle of activities: (a) a publishing imprint, (b) a workshop & bookstore, and (c) a pseudonym making site/time-specific work, typically in art venues. Dexter Sinister was originally set up to model a ‘Just-In-Time’ economy of print production, counter to the contemporary assembly-line realities of large-scale publishing. Reinfurt graduated from the University of North Carolina in 1993, Yale University in 1999, and formed the design studio O-R-G in 2000. Bailey graduated from the University of Reading in 1994, the Werkplaats Typografie in 2000, and co-founded the journal Dot Dot Dot the same year.
Matt Sheridan Smith (1980, Red Bank, New Jersey) received his BA from The New School for Social Research in New York in 2002. Smith’s conceptually based works, often consisting of readymades, use language or incorporate makeshift structures that are imbued with a sense of loss and point to the trajectory of an art object beyond the exhibition and its value as inventory or within an archive. Recent exhibitions include kaufmann repetto (Milan), Contemporary Art Museum (St Louis), Altman Siegel (San Francisco), as well as a public commission for the Public Art Fund in Downtown Brooklyn. In 2010, Smith was artist-in-residence for the annual Paris Residency organized by LMCC (Lower Manhattan Cultural Council) and the mayor’s office of Paris. He currently lives and works in New York.
Oscar Tuazon (1975, Seattle, Washington) works as a writer, publisher and curator. His artistic practice can be described as contemporary sculptural bricolage, using natural and industrial materials and often intervening in the architectural space of the gallery. Tuazon’s work has recently been exhibited in solo exhibitions at Eva Presenhuber (Zurich); Standard (Oslo); Power Station (Dallas); Rat Hole Gallery (Japan); the Institute of Contemporary Art (London); Kunsthalle Bern (Switzerland); and the Parc St. Leger (France). Tuazon lives and works in Paris and Tacoma.
JASON DODGE, HADLEY + MAXWELL, ALLISON HRABLUIK, AARON FLINT JAMISON, SAM LEWITT, HEATHER AND IVAN MORISON, AVIGAIL MOSS, PAMELA ROSENKRANZ, DEXTER SINISTER, MATT SHERIDAN SMITH, OSCAR TUAZON
April 9–May 28, 2011
Presenting the work of eleven artists and collaborators, this exhibition refuses to deliver. It offers artworks sent via national postal systems addressed to the gallery as “Poste Restante”. Typically relied upon by travelers and lovers, “Poste Restante” is a request for a post office to hold a letter or package until picked up by its recipient. The works are exhibited as received, in unopened envelopes or parcels, accompanied by any paperwork generated during transit, including customs forms, bills of lading, and pro forma invoices. Delivery is deferred as the packages wait, held by the gallery for a recipient whose identity is unknown.
Objects are shaped by various encounters with systems of commerce, information, publicity and transportation. Stubbornly resistant to dematerialization, the art object remains local, specific and visible only in certain spaces, while operating in far-flung networks, both physical and immaterial. Guarantors of the exhibition as an exhibition, the art objects in Poste Restante serve as ground for exchanges of immaterial services, writings, and conversations. Through the suspension of delivery we remove the object-in-itself from scrutiny and see in clearer relief the systems the object both calls to life and circulates within.
The exhibition will travel to further destinations, including both commercial galleries and non-profit spaces, marking out a geographical network of communication and interests analogous to those of the participating artists and organizations. Parallel events, including talks, performances, and publications, will accompany the exhibition at each location.
Curated by Eric Fredericksen