May 7, 2011 - SculptureCenter - Time Again
May 7, 2011

Time Again

Matthew Buckingham, “Image of Absalon to be Projected Until it Vanishes,” 2001.
Slide projection & framed text.*

Spring 2011 Exhibition

Time Again
Richard Aldrich, Troy Brauntuch, Manon de Boer, Matthew Buckingham, Moyra Davey, Thea Djordjadze, Aurélien Froment, Rachel Harrison, Charline von Heyl, Ull Hohn, William E. Jones, Elad Lassry, Rosalind Nashashibi, Blinky Palermo, Laure Prouvost, Steve Roden, Emily Roysdon, and Rosemarie Trockel

Novel with Ed Atkins, Marc Camille Chaimowicz, Steven Claydon, Sergej Jensen, Sam Lewitt, R.H. Quaytman, Josef Strau, and Paul Thek

On view May 9–July 25, 2011

SculptureCenter
44-19 Purves Street
Long Island City, New York
718.361.1750
info [​at​] sculpture-center.org
www.sculpturecenter.org

Exhibition hours:
Thursday–Monday, 11am–6pm

SculptureCenter is pleased to present Time Again, an exhibition that explores the language of repetition, bringing together works that destabilize conventional ways of seeing and considering what is past and what is present. Engaging gesture, image sequence, material affect, and displaced narrative, the works on view create disjunctions with the way the time of the present is experienced, challenging our understanding of what it means to be contemporaries. Time Again is curated by Fionn Meade.

Within the exhibition, archival and historical settings are re-animated only to be undone, including William E. Jones’s video Berlin Flash Frames, 2010, which parcels out footage from an unedited film produced by the U.S. Information Agency found in the National Archives of the United States labeled with the provisional title “Berlin, 1961.” Jones’s re-edit features distanced shots of the Berlin Wall under construction alongside propagandistic scenarios featuring actors on stage sets. Similarly, Emily Roysdon‘s Untitled (David Wojnarowicz Project), 2001–2007, responds to and redirects Wojnarowicz’s earlier work Arthur Rimbaud in New York, 1978-79, while an excerpt from Marc Camille Chaimowicz‘s Shoe Waste?, 1971–2005, returns to documentation of a clandestine action performed above and beneath the River Thames in London.

Additional works to be exhibited include a new sculpture by Rachel Harrison, Avatar, 2010; Ull Hohn‘s series of plaster relief paintings, Untitled, 1988; Thea Djordjadze’s Deaf and dumb universe (Gerüst), 2008; and Troy Brauntuch’s Stamps, 1975–2007, which gathers together the artist’s collection of figurative rubber stamps that have been used in his collages over the past thirty years. Also on view will be sculpture, collage, and video works from Rosemarie Trockel, including Goodbye Mrs. Mönipaer, 2003, a cinematic pantomime that explores the psychologically fraught role-playing that can emerge between artists and gallerists, studio and market concerns, and private and public selves.

The performing body and political subject present themselves throughout the exhibition via acts of estrangement, reversal, ritualized behavior, and fragmentation. Manon de Boer‘s film Attica, 2008, for example, captures a refracted consideration of the 1971 prison uprising in the form of a musical performance, while Rosalind Nashashibi‘s This Quality, 2010, offers an indirect view of Cairo through tightly framed observations of likeness and variation. Matthew Buckingham’s Image of Absalon to be Projected Until It Vanishes, 2001, addresses a public that may no longer exist in a fragmented portrait of the Danish warrior-bishop and quasi-mythic founder of the city of Copenhagen. Similarly, the place of abstraction reasserts a longstanding dialog with the place of iconography through modes of projection, superimposition, doubling, and associative image sequences in works by Richard Aldrich, Moyra Davey, Charline von Heyl, Elad Lassry, and Blinky Palermo.

Also included within Time Again is a presentation of works organized in collaboration with Novel, a project founded by London-based editors and curators Matt Williams and Alun Rowlands. A publication project that takes up experimental writing as a parallel practice to visual art making, Novel draws on politics, poetry, theory, and storytelling to promote explorations of language and the possibility of a new critical fiction.

Time Again is accompanied by an illustrated catalog published by SculptureCenter. For an updated schedule of exhibition related programs please visit our website.

About SculptureCenter
Founded by artists in 1928, SculptureCenter is a not-for-profit arts institution in Long Island City, NY dedicated to experimental and innovative developments in contemporary sculpture. SculptureCenter commissions new works and presents exhibitions by emerging and established, national and international artists. Our programs identify new talent, explore the conceptual, aesthetic and material concerns of contemporary sculpture, and encourage independent vision.

Exhibition and general operating support for SculptureCenter is provided in part by contributions from the Andy Warhol Foundation for the Visual Arts; the Kraus Family Foundation; the New York State Council on the Arts; The New York City Department of Cultural Affairs; Peter Jay Sharp Foundation; Foundation for Contemporary Arts; The Greenwall Foundation; The Tides Foundation, advised by the Lambent Foundation; Pollock Krasner Foundation; and contributions from our Board of Trustees and many generous individuals.

For additional information:
Frederick Janka
718.361.1750 x117
press@sculpture-center.org

*Image above:
Courtesy of the Artist and Murray Guy, New York.

Time Again
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