Judy Radul

27 April – 9 June 2012

Catri­ona Jef­fries is pleased to announce a solo exhi­bi­tion of new and recent work by Van­cou­ver-based artist Judy Radul, whose ambi­tious and com­plex instal­la­tions of recent years have addressed the gen­er­a­tive range and lim­its of the­atri­cal space and per­for­mance. Radul’s objects, cam­eras and per­form­ers trade roles, posi­tions and tasks in the spa­tial chore­og­ra­phy of her work, cor­po­re­al­ly rean­i­mat­ing subject/object rela­tions as con­tem­po­rary tech­nol­o­gy increas­ing­ly func­tions in ways akin to human per­cep­tion.

The­o­ret­i­cal­ly anchored in the dis­course around expe­ri­ence and per­cep­tion devel­oped by Mer­leau-Pon­ty and Deleuze as well as recent writ­ing on neu­ro­science, the exhi­bi­tion acknowl­edges the inter­twine­ment between one’s own self and the world, while at the same time rec­og­niz­ing the lim­its of rep­re­sen­ta­tion to whol­ly express this togeth­er­ness. As art thank­ful­ly pro­duces inad­e­quate forms and ren­di­tions of per­cep­tion, the gap between a per­cep­tion and its per­cep­tion, a per­cep­tion and its rep­re­sen­ta­tion can thus be enact­ed and pre­served. Radul pur­pose­ful­ly steps into this gap to con­jure joy­ful ‘bad mod­els’ of per­cep­tion in Object Analy­sis Spec­ta­tor Poem (2012). A bot­tle, conch shell, fan, heater, chair, lectern, cam­era and clay bust all become enti­ties on top of which par­tial swathes of paint­ed cop­per sheet­ing lie across – like paja­mas on a radi­a­tor – like ‘a thing on top of the thing’. To com­plete Object Analy­sis Spec­ta­tor Poem, Radul took the works into the street to be pho­tographed, how­ev­er direct vision does not suit the encounter she is seek­ing. Rather, using a mir­ror held at arm’s length the objects are seen as they stood behind her. The image pro­duced is an assem­blage of for­ward and back­ward views. When installed in a spa­tial com­po­si­tion with the sculp­tures, they cre­ate a mul­ti­far­i­ous web of par­tial views, objects and forms.

Two new works, which Radul terms ‘dis­plays’ rather than ‘sculp­tures’, also appear in the exhi­bi­tion. Moti­va­tion (2012) is a col­lec­tion of small rocks (and some rock-like objects) ordered in a row. Their arma­ture is a tilt­ed plinth con­struct­ed at the max­i­mum degree pos­si­ble before grav­i­ty would have its way and the rocks would roll off its sur­face. Sil­ver Screen (2012) is an ode to cur­tains, screens, and the thrill of fem­i­nist and post­mod­ern the­o­ry in the 1980s, incor­po­rat­ing a used the­atre cur­tain and a 1987 copy of the British film jour­nal ‘Screen’, encased in plex­i­glass.

Although skep­ti­cal of the reduc­tion­ist impulse in much of the writ­ing on sci­ence and aes­thet­ics, Radul’s inter­est in ‘neu­roaes­thet­ics’ (an emerg­ing and much con­test­ed field which explores the poten­tial neu­ro­log­i­cal basis for aes­thet­ic expe­ri­ence), orig­i­nat­ed in World Rehearsal Court (2009) through her use of neu­ro­sci­en­tist V.S. Ramachandran’s mir­ror box for heal­ing phan­tom limb pain. Ref­er­ence to the brain as an image, as well as a source of images, appears in The Brain Dis­play (2010) and Mid­town Plaza-end of the autop­sy (2011). The new sci­ence of the brain is inten­sive­ly remap­ping this organ, whose image exists as a kind of ulti­mate self-reflex­ive image.

Judy Radul born in Lil­looet, BC, lives and works in Van­cou­ver) was award­ed the DAAD res­i­den­cy in Berlin this year and her major instal­la­tion World Rehearsal Courttrav­eled to the Henie Onstad Art Cen­tre, Nor­way (2011) fol­low­ing its debut at the Mor­ris and Helen Belkin Art Gallery, Van­cou­ver. Recent solo exhi­bi­tions include Catri­ona Jef­fries, Van­cou­ver (2007); Oboro Gallery, Mon­tre­al (2006); Pre­sen­ta­tion House Gallery, Van­cou­ver (2005); Set: Room 302 (col­lab­o­ra­tion with Geof­frey Farmer), Art­s­peak Gallery, Van­cou­ver (2005); The Pow­er Plant (2003). Her work has been includ­ed in numer­ous inter­na­tion­al group exhi­bi­tions, such as Peo­ple Things Enter Exit, Catri­ona Jef­fries, Van­cou­ver (2011); Trust, 6th Seoul Inter­na­tion­al Bien­nale of Media Art, Seoul, Korea (2010); Behind the Fourth Wall: Fic­ti­tious Lives – Lived Fic­tion, Gen­er­ali Foun­da­tion, Vien­na (2010); The Thing, Cul­tur­al Cen­tre, Meche­len, Bel­gium, as part of All That is Sol­id Melts into Air, MuH­KA, Antwerp (2009); Act­ing The Part: Pho­tog­ra­phy As The­atre, Van­cou­ver Art Gallery, Van­cou­ver (2007); Inter­tidal: Van­cou­ver Art and Artists, Muse­um Van Heden­daagse Kun­st Antwer­pen (MuKHA), Antwerp (2005); Video­dreams: Between the Cin­e­mat­ic and The­atri­cal, Kun­sthaus Graz, Aus­tria (2004). She recent­ly co-edit­ed the book A Thou­sand Eyes: Media Tech­nol­o­gy, Law and Aes­thet­ics pub­lished by Stern­berg Press and a major mono­graph on her work, Judy Radul: Peo­ple Things Enter Exit, was pub­lished by Pre­sen­ta­tion House Gallery in 2010.

For fur­ther infor­ma­tion or press enquires please con­tact Catri­ona Jef­fries or Anne Low at +1 604 736 1554.