People Things Enter Exit

28 October–10 December 2011

People Things Enter Exit

Now enter a num­ber of com­mands that you would like to be exe­cut­ed. You can start with … a hiss and then cAH-junK. (auto­mat­ic doors) Now, exit from your edi­tor and type … entrances, sig­nif­i­cant actions or busi­ness and then exit.
Enter (Ntr)
Kneel (Kn)

A mat­ter of respect to col­lab­o­ra­tors or elim­i­nate them at your per­il. Dur­ing these moments noth­ing is said. Mark out here, “pause” and then there “silence”. Enter like a stiff feath­er. Throw the book. THUMP. Vio­let turns to blue. One char­ac­ter to the oth­er may say, “Shall we go?” The oth­er replies, “Yes”. The stage direc­tion says: “They do not move.”

Is some­one going to argue that stage direc­tion is imma­te­r­i­al? I hope not. (Kiss­ing the book­case) We move into the gallery space, “Flat­ly.” “Hap­pi­ly.” “Hold­ing back tears.” and “Large over-stuffed chairs that seem to swal­low the char­ac­ters.” We blink. The cam­era pans left and cap­tures “A” walk­ing with a red page then at the next moment “A” dis­ap­pear.

More impor­tant­ly, “two hun­dred women of the town” enter the room. The final scene of the play opens with two girls wind­ing a skein of red wool. Con­fu­sion reigns with var­i­ous char­ac­ters appear­ing and ask­ing for defini­tive news. A yel­low dif­fused floods the room. Yel­low is the colour of his lips when he is dead. The stark set­tings, the chant­i­ng, and the songs and music all con­tribute to an event which is designed to move an audi­ence through all of the visu­al, aur­al, and dra­mat­ic means avail­able. Peo­ple Things Enter Exit.

Ulla von Bran­den­burg (b. 1974, Karslrue, lives and works in Paris) has forth­com­ing solo exhi­bi­tions at Galerie du Gran­it, Le gran­it, Scène Nationale de Belfort, France (2012); Rosas­cape, Paris (2012); Pilar Cor­rias Gallery, Lon­don (2012). Recent solo exhi­bi­tions include Pro­duzen­ten­ga­lerie, Ham­burg (2011); Vit­rine de l’Antenne, Le Plateau — FRAC* Ile de France, Paris (2011); Neue Alte Welt, The Com­mon Guild, Glas­gow (2011); Neue Alte Welt, Art: Con­cept, Paris (2011); Chor­spiel, Lilith Per­for­mance Stu­dio, Malmö (2011).

Guy de Coin­tet (b. 1934, Paris, d. 1983, Los Ange­les) was a French artist based in Los Ange­les in the late six­ties and sev­en­ties. His enig­mat­ic and until very recent­ly under-appre­ci­at­ed body of work uses lan­guage, per­for­mances, paint­ings, sculp­ture and prints to inhab­it the poet­ic space of the writ­ten word and the­atre. A major mono­graph on his work writ­ten by Marie de Brugerolle was pub­lished by JRP Ringi­er in 2011.

Geof­frey Farmer (b. 1967, Van­cou­ver, lives and works in Van­cou­ver) has a forth­com­ing ret­ro­spec­tive at the Van­cou­ver Art Gallery in 2013 and his work is cur­rent­ly on view at the Istan­bul Bien­ni­al. Recent solo exhi­bi­tions include Mon­de­green (with Jere­my Mil­lar), Project Arts Cen­tre, Dublin (2011); Casey Kaplan, New York (2011); REDCAT, Los Ange­les (2011); Wal­ter Philips Gallery, Banff (2010); Museo Exper­i­men­tal El Eco, Mex­i­co City (2010); Catri­ona Jef­fries, Van­cou­ver, (2010).

Jan­ice Ker­bel (b. 1969, Toron­to, lives and works in Lon­don, UK). Her solo exhi­bi­tion Kill the Work­ers!, shown this past year at Chisen­hale, Lon­don and Badis­ch­er Kun­stvere­in, Karslrue will trav­el to the Wal­ter Phillips Gallery, Banff in 2012. She has a forth­com­ing solo exhi­bi­tion at Pre­sen­ta­tion House Gallery, Van­cou­ver and recent solo exhi­bi­tions include, i8 Gallery, Reyk­javik (2011); See it Now, Art Now, Tate Britain, Lon­don (2010); Ball­game (Innings 1–3), green­gras­si, Lon­don (2009).

Daria Mar­tin (b. 1973, San Fran­cis­co, lives and works in Lon­don, UK) has a forth­com­ing solo exhi­bi­tion at Gal­le­ria Raf­fael­la Cortese, Milan (2011). Recent solo exhi­bi­tions include Mino­taur, MCA Chica­go; New Muse­um, New York; Ham­mer Muse­um, Los Ange­les (2009–2010); Mau­reen Paley, Lon­don (2008), PERFORMA07, New York (2007).

Judy Radul (born in Lil­loet, BC, lives and works in Van­cou­ver) was recent­ly award­ed the DAAD res­i­den­cy in Berlin and has a forth­com­ing solo exhi­bi­tion at Catri­ona Jef­fries in 2012. Her major instal­la­tion World Rehearsal Court trav­eled to the Henie Onstad Art Cen­tre, Nor­way fol­low­ing its debut at the Mor­ris and Helen Belkin Art Gallery, Van­cou­ver. She recent­ly co-edit­ed the book A Thou­sand Eyes: Media Tech­nol­o­gy, Law and Aes­thet­ics pub­lished by Stern­berg Press.

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


Aaron Peck — Art Agen­da – Novem­ber 21, 2011

Aaron Car­pen­ter — ART­slant — Decem­ber 7, 2011