Kunstverein /

de Appel arts centre

American artist Adam Pendleton composes formal templates in which he slots information, shifting language, forms and images into an arena of artistic inquiry. Practicing extreme freedom of reference and quotation, as well as a rejection of conventional hierarchies among sources, Pendleton establishes new referential devices and displays.

Over the past few years Pendleton has created performances like 2007′s The Revival which fused experimental language with Southern-style religious revivals, and works such as his ongoing System of Display, mirror and glass works that atomize historical trajectories and textual realities through cropping, framing, reflection and fragmentation. He exploits the easy-psychology of biographical readings, rendering language and image both concrete and contingent.

Part one: three scenes
(took place on 23 Sept. 2009 at Kunstverein, Amsterdam)

For three scenes Pendleton evoked the notion of a retrospective by pulling, assembling and re-appropriating material from all of his performances to date.

Part two: grey-blue grain
12 Dec. 2009 – 31 Jan. 2010
Location
: Kunstverein, Ruyschstraat 4 III, Amsterdam

A selection of projects from 2007-09 that deal directly with the abstraction and instrumentalisation of language and image through sculpture and wall-based work, including his one-color silk-screens derived from the code-based work of ‘Clairvoyant Poet’ Hannah Weiner; selections from System of Display; and fresh configurations of the artist’s abstract and phenomenological alphabet, Untitled (Black Cubes).

Part three: BAND
13 and 14 Dec. 2009

Performed at 8.30 PM
Location: De Brakke Grond (Rode Zaal), Nes 45, Amsterdam

Adam Pendleton’s BAND is a form and content refashioning of Jean-Luc Godard’s Sympathy for the Devil. Made in the aftermath of May ’68, the original film helped mark Godard’s break from his Nouvelle Vague period into a more committed engagement with the politics and class struggles of the time. It modelled the director’s emerging political faith that radical formal complexity could undermine the bourgeois logic implicit to narrative filmmaking. Often read as a tribute to the Rolling Stones whose rehearsals form an ongoing motif in the film, the Stones were in fact emblematic of the mainstream counterculture from which Godard was attempting to remove himself.

BAND will unfold in stages, it began at the Toronto International Film Festival on September 17th with a rehearsal and live concert by the indie-rock/post-punk band Deerhoof. The Amsterdam performance/reading programmed by de Appel arts centre in De Brakke Grond, will present the first edit of footage from Toronto with work-in-progress sequences from texts based on the work of authors explicitly related to Godard’s film, such as the Black Panther’ Eldridge Cleaver; or tangentially related, such as Gertrude Stein. The final stage of BAND will occur at The Kitchen, New York in Fall 2010.

Co-producers: Wayne Baerwaldt, Alberta College of Art + Design, Calgary; Noah Cowan, Toronto International Film Festival, Future Projections; Ann Demeester, de Appel, Amsterdam with additional support from Rashida Bumbray, The Kitchen, New York.

For further information, please contact:

de Appel
arts centre
Post Box 10764

1001 ET Amsterdam 

Tel +3120 6255651

Fax +3120 6225215

hzomer@deappel.nl
http://www.deappel.nl

Kunstverein
Ruyschstraat 4 III
1091 CB, Amsterdam
+31 (0)20-4277603
office@kunstverein.nl
http://www.kunstverein.nl

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