Opening, Oct. 13th from 4-6pm
litüus performance at 5pm
litüus will be responding musically, in real time, to Lund's paintings that are hung within the space
Opening, Oct. 13th from 4-6pm
litüus performance at 5pm
litüus will be responding musically, in real time, to Lund's paintings that are hung within the space
Ana Cardoso (b. 1978, Lisbon) is based in New York.
Cardoso's painting work is an ongoing performance that negotiates between historical referents, conceptual and structural concerns, and distribution modes.
Her solo and two-person exhibitions include: Memory Leak, Casa-Atelier Vieira da Silva, Arpad Szenes Vieira da Silva Museum, Lisbon (2018); The Seed Can Be Initialized Randomly with Merike Estna, Temnikova & Kasela, Tallinn (2017); Grandpalazzo with Collicaligreggi, Rome (2017); Logic Operators Commute, Collicaligreggi, Catania (2016); The Seed Can Be Initialized Randomly with Merike Estna, Múrias Centeno, Porto (2016); Vacation with Tim Pierson, Four A.M., New York (2016); Folder, Jablonka Maruani Mercier, Knokke (2016); Progress, Chiado Museum of Contemporary Art, Lisbon (2015); The Hinge, Andrew Rafacz, Chicago (2015); Flat Files, Múrias Centeno, Lisbon (2014); The Other Side and In Between with Christian Bonnefoi, Longhouse Projects, New York (2014); Program vs Program, Pedro Cera, Lisbon (2012); Picasso, Maisterravalbuena, Madrid (2012).
Parapet Real Humans is excited to announce its next exhibition is a collaboration by artists Hannah Buonaguro and Ryan Foerster. The exhibition will open Sunday, January 21st at 11am. The exhibition will remain on view until March 8, 2018.
For this site specific project, the artists are emphasizing the nature of their relationship to one another as well as to the environment and world around them. Practices like writing, photographing, and drawing find their way into their sculptural work and artist books. Their sculptures consist of salvaged materials: things they find on a daily basis or in their travels, unfinished works and scraps from their studios. Themes of home/shelter, relationships, memory, and social and political concerns emerge in their work. By tracing one another’s bodies on yesterday’s newspapers is one example of the way they combine personal, intimate movements within the context of a bigger and more uncontrollable world and media landscape. In coincidence with the exhibit, the two have made a unique that includes recent drawings, photographs, paintings, text, and ephemera. For the performance that will take place, they will each read all text featured in the book.
Hannah Buonaguro was born in 1991 in New Jersey and lives and works in New York City. Recent exhibitions include, Quarantine Show (Dubrovnik, Croatia), The Gardening of Forking Paths (Maganta Plains, New York) and The Museum of Love and Devotion (Fairview Museum of History and Art, Fairview, UT). Her recent publications of poetry include Time That Does Not Tick and In These Bones.
Ryan Foerster was born in 1983 in Newmarket, Canada. He has had solo exhibitions at Hannah Hoffman Gallery (Los Angeles), Clearing Gallery (New York/ Brussels), Printed Matter (New York) and Ribordy Contemporary (Geneva, Switzerland) among other. He also has curated many shows, founded RATSTAR press, and has been the recipient of many awards, including the Pollack Krasner Foundation, the Joan Mitchell Foundation, and the Foundation for Contemporary Arts.
Fabian Marti, (b. 1979) has been described as the spiritual leader of the Swiss art scene, though he currently divides his time between Europe and the Americas. His oeuvre ranges from individual production to the creation of an idyllic residency for fellow artists (his ‘TwoHotel, a simple shack that he created in situ in Brazil) or co-directing the Hacienda art space in Zurich. The many exhibitions he has taken part in include the central exhibition of the Venice Biennale in 2011, or bringing the TwoHotel to Basel for the inaugural presentation at the TANK gallery of the Institut Kunst. Marti’s solo output is characterised by an interest in altered consciousness, as well as the meeting of the organic and the mechanical or virtual.
When someone says: No Shirt, No Shoes, No Service. No photocopying, recording or otherwise, without the prior written permission of the publisher. No Strings Attached. No Reservations. Dr. No. Nope. Nada. Nuh-uh. Phhhhht. No Age. No doubt. Plastic Ono Band. No dogs. No loud music. No ball playing. No bake. No Carbs. No-name slobs. No love. No woman, No cry. No problem. No idea. No regrets. Nope dope. No, no, no. No Exit. No Fixed Address. Going nowhere. No more pencils no more books no more teachers dirty looks. Stuck. Nixed. Negation. Negatory. Can't. Can not. No can do. Yeah Right. Never gonna get it. No way no how. Never good enough. Antithesis. Naysayers. Nada. Reject. Refuse. Recycled Non-something-non. Veto. You won't, you can't. Forget it. Just a low down, dirty no. You'll never, you couldn't.
Benjamin Echeverria was born in 1980 and lives and works in Los Angeles. Recent exhibitions include, Iterations: Contemporary Approaches to Drawing, The University of Richmond Museums (2017-18); 57W57 Arts, New York (2015) and New Postures organized by N/A Oakland, Bay Area Now 7, Yerba Buena Center for the Arts, San Francisco (2014). Echeverria was a recipient of the Ellen Battell Stoeckel Fellowship from the Yale School of Art and received an MFA from the San Francisco Art Institute and an MA from the University of Southern California. In 2013 he founded Reserve Ames in Los Angeles.
Souci de soi: AUDREY JOHNSON is a collaboration between choreographer Biba Bell and dancer Audrey Johnson for the Elaine L. Jacob Gallery. Each day the gallery is open Audrey performs 10 minutes of personal, subtle, and transformative actions, a two-fold offering for both herself and the public. Throughout the nine-week period of the exhibition, a choreographic score guides the movement practice. One image is captured each day during the performance, to be printed, installed, and left in her absence. Throughout the course of the exhibition the images accumulate, revealing a fragment-like trace of her daily practice, a repeated effort whose fullness is better felt than seen.
Nearing the end of his life, Michel Foucault turned his attention toward the ethics of care as it relates to practices of freedom, subjectivity, and what he discusses as “technologies of the self.” A space for daily meditation, reflection, and physicality, the practice of cultivating the aesthetics and art of the self might counter forces of subjection and produce a movement to off-set the harsh political climate of the day. Here, the dancer is offered as a figure exemplar that critically navigates the spectrum between discipline, self-care, and experimentation.
[24 – 27 January]
[31 January – 3 February]
[7 – 10 February]
[14 – 17 February]
[21 – 24 February]
[28 February – 3 March]
[7 – 10 March]
[14 – 17 March]
[21 – 24 March]
Ann Craven is a painter based in New York City. The portrait and moon paintings record specific coordinates that the artist occupies at a given moment. They reflect back on the artist’s life, like a sky map. The painting Portrait of Amy (8-20-12), 2012 was painted in Cushing Maine on August 20, 2012. Craven’s oil paintings of the moon and portraits began in 1990’s as a way to explore variations on a theme or prolongation of “subject” or “subject matter” from an observation starting point.
In 2015, Craven began exhibiting her extensive series of Untitled (Palettes) – created from 1999 to present – in which she has been mixing color directly onto light-duty pre-stretched canvases. The palette in here at Parapet Real Humans titled Untitled (Robin, 2-21-11), 2011 was used to mix the colors for A Robin Singing, 2011.
Guided by minimalist tendencies, Craven’s Stripe Paintings contain the unused colors from her palettes. The simple gesture of striping or painting her unconscious color mixtures records the process as a “notation” or “transcription of logged time” like a tape recorder. This stripe painting titled Stripe (Portrait of a Robin, 2-23-11), 2011 was made after painting A Robin Singing, 2011.
Craven sees no differentiation from the four canvases in this exhibition – a portrait, a bird, a stripe or a palette and treats them as the same entity, thus taking the hierarchy out of “subject” - placing more emphasis on the unbridled process of “form”.
To be sure, Craven uses subject matter such as birds, birds, flowers and the moons in her multiple wet on wet paintings. Meanwhile, she neutralizes her storybook content through continual variations and repetitions, thus removing any sense of preciousness in the work whilst shifting the conversation about her work into a theoretical frame that considers the body as a whole, rather than its individual parts. By reworking, re-presenting and returning to the same stock subject matter, Craven engages questions of authenticity, collection, consumption and skill, thus examining the durability of a painted icon in a world that consumes mass imagery at record speeds.
About Ann Craven:
In addition to numerous group exhibitions, Ann Craven’s (American) major solo exhibitions include her current show: Animals 1999- 2017 at Southard Reid, London; Hello, Hello, Hello at Maccarone, NYC in 2015; I like Blue at Gallery DIET, Miami in 2015; Untitled (Palettes: Naked, Tagged), 2014-15, at Southard Reid Gallery, London in 2015, and Ann Craven at Hannah Hoffman Gallery, Los Angeles in 2014. She has three Artist Monologues of her work including Ann Craven: TIME (Le Confort Moderne, Poitiers France); Ann Craven: Shadows Moon and Abstract Lies (JRP Ringier and FRAC Champagne Ardenne); Ann Craven: Pensée, (Karma Books and Maccarone) which highlights ninety-two watercolors of the pansy flower painted by Craven between 2007-2008 while in residence at the FRAC Champagne-Ardenne. Ann Craven lives and works in New York.
Van Hanos (b. 1979) lives and works in New York City. His work has been exhibited widely in New York, including Gavin Brown's Enterprise, PPOW Gallery, Harris Lieberman and Mitchell Innes & Nash, as well as internationally at Tanya Leighton, Berlin, Gall Galleria Pianissimo, Milan and Gallery Poulsen, Copenhagen. Hanos has had solo exhibitions at West Street Gallery, New York and Retrospective, Hudson. His work has been written about in The New York Times, Flash Art and Artforum, among other publications. He teaches painting at Columbia University.
Kyle Thurman, born 1986 in West Chester, Pennsylvania, received his BA in Film Studies and Visual Arts from Columbia University in 2009. He later studied as a guest-student at the Kunstakademie Dusseldorf and completed his MFA at Bard College in 2015. Recent exhibitions include A Lonely Butcher at Off Vendome (New York) and A Change of Heart at Hannah Hoffman (Los Angeles).
Zak Kitnick was born in Los Angeles, California in 1984. He lives and works in New York. He received his BA from Bard College and his MFA from the Milton Avery Graduate School of the Arts, Bard College, New York. Solo exhibitions of his work have been held at Rowhouse Project, Baltimore; CLEARING, Brussels; Off Vendome, Düsseldorf and Landings Project Space, Vestfossen. Recent group exhibitions include History of Nothing at White Cube (London); To Do As One Would at David Zwirner (New York) and Taster’s Choice at MoMA PS1 (New York). Upcoming solo projects include SCHLOSS, Oslo, and The Suburban, Milwaukee.
Y as Yoga
Yoga is defined as “a Hindu spiritual and ascetic discipline, a part of which, including breath control, simple meditation, and the adoption of specific bodily postures, is widely practiced for health and relaxation.”The spiritual, mental and physical well-being of a significant portion of the world population is conditional on the instability and destruction of others.The history of self-care has been the history of the disciplinary mechanisms of protection and control in the service of acquiring healthy and stable states of mind and body.The State invests and promotes another kind of protection.Attack in the service of defending our social body has become the quintessential method of promoting the ideology of freedom.
Parapet Real Humans is thrilled to announce the first solo exhibition in the midwest by the Brazilian-born, New York-based artist and filmmaker Karin Schneider. The exhibition will open with a conversation between Karin Schneider and Hannah Klemm on Friday, November 11 at 12pm. The exhibition will remain on view until December 12, 2016.
In 1997, Schneider founded Union Gaucha Productions (UGP) with Nicolás Guagnini, an artist-run, experimental film company designed to carry out interdisciplinary collaborations with practitioners from different fields. From 2005 to 2008, she was a founding member of Orchard, a cooperatively organized exhibition and social space in New York's Lower East Side. In 2010, Schneider co-founded Cage, a space that facilitated new kinds of social interactions. Her most recent projects have included Situational Diagram, first presented as a text at the Centre Culturel International de Cerisy, France, in 2015 and an exhibition entitled Situational Diagram, presented at Dominque Lévy Gallery in New York Sept 7 - Oct 20, 2016. For her project at Parapet Real Humans the artist will make a site specific installation.
Selected by Israel Lund and Sam Korman
Ulrike Müller gathered expressions from a weeks worth of The New York Times for her audio installation, New York Times (February 16-22, 2003), 2003. In advance of the invasion of Iraq, the language veers between heated calls to war and ethical resignation, easily conjuring a litany of politicians behind the podium, deadlocked by popular opinion, political allegiances, and the momentum of recent history. Müller re-locates the pathos of this language in the personal, and as she monologues, the rhetoric of inevitability, both hawkish and entreating, implies an increasing and inherent violence. New York Times was originally installed at a high-up window in lower Manhattan, and viewers looked down on the city street, listening to the audio on headphones. At St. Louis’s Parapet/Real Humans, viewers look through a 4x5 inch opening on the gallery’s painted, street-level windows, that look upon a domestic neighborhood. The audio plays on a speaker in the window frame, and a 4x5 inch photograph of the original installation accompanies the audio on a nearby wall.
A shopping cart handlebar stolen from the German discount grocery chain, Lidl comprise Kitty Kraus’s Untitled, 2009. The work relates to similar works that use the same handlebars. They were placed on the floor, or near a window, and though inert, suggested ad hoc, threatening, and blunt implements. In St. Louis, the bar will be strung to a small motor on the ceiling, and spin menacingly near the body of a viewer. It was couriered by plane from Europe by a friend of the gallery, who, upon opening the package, realized the component pieces resembled an explosive device. Traditional sculpture, from Rodin to Minimalism, privileges an intimacy
John Riepenhoff was born in 1982 in Milwaukee, WI and received his BFA from the Peck School of the Arts at the University of Wisconsin in Milwaukee, WI. Riepenhoff is also a curator and co-owner of The Green Gallery, Milwaukee, WI. His recent exhibitions and curatorial projects have been presented at the Tate Modern, London; Gavin Brown’s Enterprise, James Fuentes, and the Swiss Institute, New York, NY; Pepin Moore, Freedman Fitzpatrick and Ooga Booga, Los Angeles, CA; Western Exhibitions, Chicago, IL; Dean Jensen Gallery, and Small Space, Milwaukee, WI.
Drew Heitzler is a Los Angeles-based artist. His films and film-based projects, often made as collaborations, have been screened and exhibited internationally at galleries and institutions including The Project, Orchard Gallery, The Swiss Institute, Sculpture Center, Anthology Film Archives, PS1 Contemporary Art Center, LA><ART, The Suburban, Locust Projects, Zacheta National Gallery of Art, Kunstmuseum St. Gallen, Magasin Centre National d’Art Contemporain, Kunsthalle, Zurich, and Centre Georges Pompidou.
His work was included in the 2008 Whitney Biennial, the 2010 California Biennial, and the Hammer Museum’s 2012 Venice Beach Biennial.
In addition he was cofounder of the bicoastal exhibition project Champion Fine Art, cofounder of Triple A, a public exhibition project in Los Angeles, and continues to be co-owner of Mandrake, an artist-run bar and performance space, also in Los Angeles.
His curatorial activities for both galleries and institutions include the exhibitions Bring The War Home, Animal Style, Endless Bummer/Surf Elsewhere, Endless Bummer 2/Still Bummin’, Golden State, and Beer.
Bleta Jahaj’s work raises questions about extended bodies and disconnection, relationships between concepts of myth, gender and psychology. She works in a variety of materials both synthetic and natural, soft and hard: clear glass, latex, marble, concrete, knotted and knitted rubber, cast silk, tangled wire and dangling string.
In careful, yet surprising ways, the artist molds formally contradicting materials, celebrating their inherent inconguencies through geometrical disintegration tat defies formalization and modular precision
Mark Hagen, born in 1972 in Black Swamp, Virginia, is a visual artist who foregrounds the interplay of materials, process, and form in his geometric, minimalistic paintings, sculptures, and installations. Artist finds inspiration in the breakdown of history, vision and hierarchies and creates works by pushing common and utilitarian materials in directions which reveal the process of making.
Hagen’s paintings are made by pushing black and white paint through lengths of rough burlap onto glass planes supporting sheets of wrinkled wrapping plastic, lengths of packing tape, geometric configurations of cut tile, and other material. Once the paints dries, the fabric is pulled from the textured surface, taking its negative imprint on what will be its facing side. Making a negative, a positive aspect of his paintings, Hagen toys with the concept of the seen and the unseen, addressing the natural limitations of human vision and the rendering of a picture in the brain.
OLIVIER MOSSET (b. 1944 in Bern, Switzerland) first came to prominence in France as part of the BMPT group alongside Daniel Buren, Niele Toroni and Michel Parmentier. In 2012 his work was the subject of a one-person exhibition at Kunsthalle Zurich, and in 2003 a retrospective of his work, Olivier Mosset: Travaux/Works 1966-2003, was presented at Musée Cantonal des Beaux-Arts, Lausanne, Switzerland and Kunstverein St. Gallen Kunstmuseum, Switzerland.
Mosset has been part of numerous group exhibitions including Manifesta 10, Hermitage Museum, St. Petersburg, Russia (2014); the 2008 Whitney Biennial, Whitney Museum of American Art, NY (2008). In 1990 Mosset represented Switzerland in the 44th Venice Biennale. His work is in the collections of the Museum of Modern Art, New York; Centre Pompidou, Paris, France; National Gallery of Canada, Ontario; and Musée Cantonal des Beaux-Arts, Lausanne, Switzerland among others. He lives and works in Tucson, Arizona.
About Jacob Kassay
Jacob Kassay was born in in Lewiston, New York, in 1984. He received his BFA from the State University of New York at Buffalo and lives and works in Los Angeles. Solo exhibitions include Untitled (disambiguation), The Kitchen, New York (2013), Jacob Kassay, Protocinema, Istanbul, Turkey, (2013); No Goal, The Power Station, Dallas (2012) and the ICA, London (2011)
In Greek mythology, Procustes was a bandit who physically stretched people, or cut off their legs to force them to precisely fit the size of an iron bed. Stemming from this brutal dimension or properties to confirm to its measure.
Jacob Kassay's glass sculptures invert this Procustean logic, which is to say, beds are bent around bodies. Rather than conforming to their containers, their measures determine what encase them. Inset into library books, these glass wedges use the arbitrary, public books, which fit them as temporary supports, acting as lenses which open up the information closed within. Without altering what houses them, the wedges clear an aperture into, illuminate and refract the dormant cores of these circulating objects.
Kassay's sculptures are not only Procustean, but also slightling crustacean. Like the nomadic rovings of the hermit crab, passing from vacant shell to vacant shell, the wedges inhabit library books only in interstices, their coupling bound to the limit leases of the book. In this temporary interlocking, the glass pros open a prismatic space filled with bent gradients of language and o oscillating planes of images into which vision tunnels. While a key typically opens only one door, fixed in place, what Kassay offers in these works is a far more variable form of access into interiors rarely seen in this light - more an entrance briefly held ajar with a book.