A group show curated by Martha Kirszenbaum
Thursday, March 22, 2012 - Saturday, April 28, 2012
Guy de Cointet
Florian and Michael Quistrebert
Harris Lieberman Gallery
508 West 26th Street, New York, NY
Grey Peak of the Wave brings together artworks from six European artists, whose practices are ingrained in geometrical constructions and abstract symbolism. Its point of departure is the works on paper of Guy de Cointet (American born French, 1934-1983). An influential figure in Los Angeles' conceptual art scene, de Cointet's was fascinated with language, exploring its resources in his performances and drawings. Reflecting aesthetics that oscillate between games and logical constructions, his drawings take the form of cabbalistic aphorism, mystical signifiers or coded imagery, also prominently featured in his performances. Composed according to algorithmic visual codes, they were often constructed "in mirror" and given performative titles.
Five emerging artists have been invited to present a multidisciplinary ensemble of works motivated by a reflection on abstraction and the avant-garde, and considerate of de Cointet's drawing practice. Alicja Kwade's (b. 1979, lives and works in Berlin) bizarre, minimal bent mirrors and reflecting lamps contradict our perception of the world with their poetic absurdity, as they face Alexandra Leykauf's (b. 1976, lives and works in Berlin and Stuttgart) kaleidoscopic combination of historical posters and found-footage photographs, where she deconstructs images out of their context and rearranges them into new situations. Agnieszka Polska (b. 1985, lives and works in Krakow) revisits Polish modernism through recycling old material, collages and archival photographs into animated films, while Florian and Michael Quistrebert's (b. 1976 and 1982, live and work in Paris and Amsterdam) bleach paintings made on black canvas suggest both geometrical compositions and playful dancing characters realized through a reversed photographic technique. Wojciech Bakowski (b. 1979, lives and works in Poznan), focusing on his intimate surroundings, produces analog video material that features his chaotic speech; and physically engages the viewer into a rough spoken performance, where sound and image are related to his everyday environment.
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