Palm Beach Institute of Contemporary Art




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The Palm
Beach Institute of Contemporary Art

Image:
Iñigo Manglano-Ovalle: Climate (2000), video stills. Courtesy of
the artist and Max Protetch Gallery.

The Palm Beach Institute of Contemporary Art (PBICA) will exhibit
Iñigo
Manglano-Ovalle’s Video Installations and Imperfect
Innocence, the private
photography collection of Debra and Dennis Scholl.

The
concurrent
exhibitions open April 12 and run through June 15, 2003.

CONCURRENT EXHIBITIONS AT PALM BEACH INSTITUTE OF CONTEMPORARY ART
FEATURE
PHOTOGRAPHY AND VIDEO ART

LAKE WORTH, Fla. (February 18, 2003) — The Palm Beach Institute of
Contemporary Art (PBICA) will exhibit Iñigo Manglano-Ovalle’s
Video
Installations and Imperfect Innocence, the private photography
collection
of Debra and Dennis Scholl. The concurrent exhibitions open April 12 and
run through June 15, 2003.

Iñigo Manglano-Ovalle

Video Installations

Iñigo Manglano-Ovalle, born in Spain, raised in Bogotá, Columbia and
educated in the United States, was awarded the prestigious MacArthur
Fellowship in 2001. His diverse body of work in video art and sculpture
has incorporated tangible items, such as custom car stereos, firearms
and
DNA samples, to investigate intangible notions of individual identity,
community, urban violence and hierarchies of power. One of his most
recent
video projects is a trilogy set within architectural locations in the
U.S.
and Germany designed by architect Ludwig Mies van der Rohe (1886-1969).
The series uses these Modernist spaces as a means to explore social
conditions.

The first in the series, Le Baiser/ The Kiss (1999), takes place
in the
famous glass-and-steel, single room Farnsworth House in Plano, Ill.
Manglano-Ovalle casts himself as a window washer working a squeegee
patiently and lovingly outside the house. Inside, oblivious and
indifferent to the window washer, a young woman listens to music with
headphones connected to a simple turntable. There is no dialogue in the
video, only the sounds of the slurpy squeegee interchanged with the
music
(by the rock band “Kiss”) from the headphones. It is through
this
interaction that The Kiss explores many different ideals such as
the
essence of masculinity and femininity; inside vs. outside; and the upper
class vs. the working class.

“Think of this beautiful building as if it were a beautiful human
being,”
said Max Protetch, owner the New York gallery that represents
Manglano-Ovalle. “Think of it as falling in love with someone who
gives
you nothing back.”

The second installation is titled Climate (2000). It is more
ominous than
The Kiss, offering disconnected images of roof-mounted wind gauges,
actors
impersonating either air-traffic controllers or meteorologists, and an
unidentifiable man dismantling and cleaning an automatic weapon.
Replacing
the domestic setting of the Farnsworth House, Climate is staged
in Mies’
twin apartment high-rises on Lake Shore Drive in Chicago. Two men
wearing
headsets sit in a glass-walled apartment monitoring weather reports
while
studying the sky. A machine gun is assembled and disassembled. A woman
sits alone on a Mies-designed Barcelona chair in the lobby and another
woman occasionally whispers a lullaby in her ear. A haunting soundtrack
consists of ominous music, weather reports in Korean, and other
fragmented
spoken texts.

Manglano-Ovalle claims that he was inspired by the Spanish word for
climate, “tiempo,” which also means time.
“Climate is a reference to the
weather as well as a reference to the condition of ‘our
time,’” he
explained.

The final installation in the video series is Alltagszeit (2001),
a
complicated German word that is loosely translated as “In Ordinary
Time.”
It is set in the enormous entrance hall of Mies’ Neue
Nationalgalerie in
Berlin, the last building completed by the architect before his death.
Shot in 35mm film and transferred to video, it features manipulated
footage from a 12-hour performance shot from dawn to dusk, edited down
to
just 18 minutes. Sixteen performers move to orders that are given by a
principle figure. The sweeping light and shadows cast by the sunrise and
sunset add another dimension to the piece.

Inspired by Jacques Tati’s 1967 film Play Time, an epic of
the modern
world in which the film’s protagonist gets lost in a maze of
modern
architecture, Alltagszeit is a narrative of man’s life and
place in the
world.

Iñigo Manglano-Ovalle’s video installations, organized by the
Cranbrook
Art Museum and curated by Irene Hofman, will be on display in
PBICA’s main
gallery from April 12 until June 15, 2003. A full color catalogue
accompanies the exhibition with essays by Irene Hofman, Anna Novakov and
an interview with the artist by PBICA Director, Michael Rush.

Imperfect Innocence

The Debra and Dennis Scholl Collection

Throughout history, photography has advanced both technologically and as
an art form. In recent years, it has made its way into contemporary art
as
collectors and curators have seen photography, video and digital art
replace more traditional media such as painting and sculpture. Debra and
Dennis Scholl are among the country’s most prominent collectors of
contemporary photography. The Miami Beach couple began their
“photo-based
art” collection in 1992, just as contemporary photography was on
the
ascendant. Imperfect Innocence is a sampling of their photography
and
video art collection and features a wide range of well-known artists,
including Bernd and Hilla Becher, Andreas Gursky and Pipilotti Rist and
emerging artists such as Naomi Fisher and Hellen van Meene.

The exhibition is co-organized by the Contemporary Museum, Baltimore and
the Palm Beach Institute of Contemporary Art (PBICA).The catalogue that
accompanies the exhibition, published by the Contemporary and PBICA,
features an interview with the Scholls by Gary Sangster, former director
of the Contemporary and curator of the exhibition.

Dennis Scholl characterizes his collection as a “living
organism.” “Our
goal is to capture a moment in time. Few artworks become iconic images
that transcend their moment in history,” said Scholl. “We
know that
whatever our aspirations, all the pieces in the collection will not be
of
equal importance in ten or twenty years. However, the collection as a
whole will constitute a representative sampling of what contemporary
artists were doing with photography from about 1992 onward, and whom
they
were looking to in the preceding generation of artists concerned with
the
capabilities of photographic representation.”

The catalogue also includes essays from art authorities on some of the
underlying themes in the collection. “Art Photography After
Photography,”
by Nancy Spector, curator of contemporary art at the Solomon R.
Guggenheim
Museum in New York, gives a comprehensive overview of the role of
photographic art in the art world.

“House and Home, Coming and Going: Thoughts on the Scholl
Collection,”
written by James Rondeau, head of the modern and contemporary art
department at the Art Institute of Chicago, explores artists like Dan
Graham, Gordon Matta-Clark, Gregory Crewdson and Gregor Schneider and
their representation of the middle-class, suburban home.

“Still Moving: Video Art in the Scholl Collection,” by
Michael Rush,
executive director of PBICA traces the origins of video art and
performance and explains their importance to artists like Pipilotti
Rist,
Janine Antoni, Tacita Dean, Zhang Huan and Bruce Nauman.

Imperfect Innocence will be on display inPBICA’s Mezzanine
Gallery and New
Media Lounge from April 12 until June 15, 2003.

The Palm Beach Institute of Contemporary Art is located at 601 Lake Ave.
in downtown Lake Worth. Gallery hours are Tuesday through Sunday from
noon
until 6:00 p.m. Admission is $3 for adults and $2 for seniors and
students. Children under 12 are free. The museum is open until 8:00 p.m.
on the first and third Fridays of the month and admission is free
between
5:00 and 8:00 p.m. For more information, please call PBICA at (561)
582-0006 or visit the Web site www.palmbeachica.org

The exhibitions and programs at PBICA are generously supported by Robert
M. and Mary Montgomery.