May 10, 2012 - Wexner Center for the Arts - Spring exhibitions
May 10, 2012

Spring exhibitions

Left: Alina Szapocznikow, Small Dessert I, 1970–1971. Assemblage: colored polyester, glass salad bowl. 3 1/8 x 4 5/16 x 5 1/8 inches. Right: Omer Fast, 5000 Feet Is the Best, 2011. Digital film, 30-minute loop.*

Spring exhibitions at the Wexner Center
Alina Szapocznikow: Sculpture Undone, 1955–1972
Omer Fast: 2001/11
May 19–August 5, 2012

Opening: Friday, May 18.
Public talk by Omer Fast at 5pm.
Opening party 6–9pm.
Media and public access at 4pm.

Wexner Center for the Arts
The Ohio State University 
1871 N. High Street
Columbus, OH 43210

T 614 292 3535

www.wexarts.org

The Wexner Center for the Arts opens two exhibitions later this month: the internationally touring Alina Szapocznikow show in its only Midwest stop, along with a significant presentation of work by the Israeli-born video artist Omer Fast.

Alina Szapocznikow: Sculpture Undone, 19551972, featuring roughly 100 works by the late Polish artist, is one of the first large-scale surveys of her work outside of Poland. From 1955 to just before her untimely death in 1973 at the age of 47, Szapocznikow investigated a wide range of sculptural approaches. The years explored in this exhibition (1955–1972) are regarded as her experimental period, characterized by a pioneering use of non-traditional materials and forms that encapsulate a wealth of subject matter. The survey includes Szapocznikow’s mixed-media sculptures (made from such materials as polyester resin and polyurethane foam), as well as photographs, watercolors, drawings, and archival and documentary material. At once vulnerable, sexualized, and witty, the works in the exhibition are imbued with the idea of the imprint—not only of the physical body in art objects, but of memory upon those very objects. Her work is positioned between surrealism, nouveau réalisme, and pop art, with pieces ranging from sculptures that incorporate photographs to tinted polyester casts of her lips and breasts transformed into quotidian objects such as lamps or ashtrays.

This exhibition was curated by Elena Filipovic and Joanna Mytkowska and organized by the WIELS Contemporary Art Centre in Brussels and the Museum of Modern Art, Warsaw, in collaboration with The Museum of Modern Art, New York, and the Hammer Museum, Los Angeles. It opened at WIELS (September 10, 2011–January 8, 2012) and went on to the Hammer Museum before stopping at the Wexner Center. After its Columbus run, Sculpture Undone will travel to The Museum of Modern Art in New York, where it is on view October 7, 2012–January 28, 2013. A fully illustrated catalogue accompanies the exhibition.

Press page

Omer Fast: 2001/11 brings together two video works made a decade apart by Berlin-based, Israeli-born video artist Omer Fast. CNN Concatenated was initiated in 2001 in the immediate aftermath of the 9/11 attacks. 5000 Feet Is the Best was completed in 2011 and unveiled to great acclaim at the Venice Biennale of that year. Together, these works provide neither a survey of the decade they bracket, nor a comprehensive view of Fast’s work over those 10 years. Rather, by focusing narrowly and with great acuity on two issues—media saturation in the case of CNN Concatenated and drone warfare in the case of 5000 Feet Is the Best—Fast’s videos throw into relief subjects that have helped define a decade of war in Iraq and Afghanistan.

The Omer Fast exhibition will be accompanied by an extensive gallery guide, featuring essays by Chief Curator of Exhibitions Christopher Bedford and art historian and critic T. J. Demos.

5000 Feet Is the Best (2011) deploys a suspenseful drama that plays with temporal structure and the unstable division between fact and fiction to deliver urgent allegorical-political messages in this age of “virtual” warfare. Through interviews with two drone pilots, one real and one fictional, the piece relates the peculiar experience of bombing distant lands from in front of a monitor, connecting electronically to an unmanned, missile-equipped plane flying 2 to 3 miles away from its objective—though 5,000 feet is ideal. From that distance the watcher can make out the target’s shoes, even while he or she can see or hear nothing—until it’s too late. Over the 30-minute running time, we return three times to the same hotel room, set-up, and conversation—or so it seems. In fact, each exchange leads to a different story, allegorizing the experience of drone warfare from both sides of the missile. Fast’s video blurs the divisions between reality and representation and builds on his recent projects, such as The Casting (2007), which explores the affective dimensions of warfare, and Nostalgia (2009), which reverses identities (e.g., dramatizing British refugees in Africa) to generate new forms of cross-cultural understanding.

CNN Concatenated (2001–02) offers a barrage of talking heads, all of them television anchors or news correspondents, without lingering on any single image or topic. The video recalls the generalized media frenzy that followed 9/11 and the obligation most people felt to monitor events using television coverage as their primary vehicle. It is, in essence, about a mode of address and its effects—the cognitive aesthetics of CNN and the application of those aesthetics to the coverage of the unfolding War on Terror. The word “concatenate” means to link or join together, particularly in a series or chain, a definition that describes perfectly the simple mechanism Fast uses to craft the beguiling swirl of non-information that plays relentlessly throughout the 18-minute loop. Within this chaotic bricolage, positions are asserted and opinions advanced, some direct, others elusive, but in each case the assertion is discrete and self-contained, never building to a unified conclusion. Instead, pieces and parts—sometimes impassioned, sometimes provocative, occasionally funny, and quite often absurd—are stitched together to make a new dissonant whole. Fast acknowledges the power and authority of televised mass communication, yet by turning that mode of address back on itself through a radical form of editing—by forcing the talking heads to speak his language—he advances the claim that even the most trenchant positions and the most powerful images are subject to revision.

Support for this exhibition is provided by Consulate General of Israel to the Mid-Atlantic Region.

Press page

Free first Sundays / Free Thursdays / Walk-in tour dates

Press Contact
Karen Simonian
614 292 9923 / ksimonian [​at​] wexarts.org

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*Images above:
Left: Alina Szapocznikow, “Small Dessert I,” 1970–1971. Assemblage: Colored polyester, glass salad bowl. 3 1/8 x 4 5/16 x 5 1/8 inches.
Kravis Collection. Copyright The Estate of Alina Szapocznikow / Piotr Stanislawski / 2012 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: Roland Schmid.
Right: Omer Fast, “5000 Feet Is the Best,” 2011. Digital film, 30-minute loop.
Courtesy of gb agency, Paris, and Arratia Beer, Berlin. Still: Yonn Thomas.

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