Exhibition: They Filled Boulevards With White Snow
between Lage Egal and PØST
Dates: March 25 – April 14, 2018
Reception: Sunday, March 25, 6:30 – 9:30 pm
Hours: Thurs - Sat, 12 - 6 pm, or by appointment
Filled Boulevards With White Snow
PØST is pleased to present a collaborative exhibit with Berlin spaceLage Egal in conjunction
with their participation in exhibit CO/LAB
III at Torrance Museum of Art.
an artist-run project space for production and exhibition, founded in 2010.
It works with the mechanisms of presentation and art market in an
experimental and playful way, aiming to provoke and engage in discussion.
LAGE EGAL houses a studio, an office, a workshop, a warehouse and various
showrooms, in which production and mediation of art is characterized by a
cohesion between critical irony and distance. LAGE EGAL also regularly
organizes off-site exhibitions and involves numerous guest curators, who are
given complete creative freedom in their projects. The space is also focused
on artists books, editions and multiples, constantly questioning the
original, the copy, the duplicate and the series. As a non-market-oriented,
experimental space, LAGE EGAL aims to give artists the opportunity to show
their work outside the commercial and institutional mediations.
Granoux is a conceptual artist, independant curator and founder of the
project space LAGE EGAL. He studied in Ecole des Beaux-Arts in Nîmes, France,
before moving to Germany and establishing his independent curatorial and
artistic practice, situated between Dadaism, appropriationism and the tradition
of text-based art. Besides co-founding LAGE EGAL project space in 2010 and
serving as its artistic director and mediator since 2012, Pierre Granoux also
actively participates in international solo and group exhibitions in Germany,
France, Luxembourg and Brazil, amongst others. His works are also included in
numerous private and public collections.
for the works of Thomas Prochnow is his site-specific installations. A place
is being analyzed, dissected and probed until the conceptual idea is
developed. Prochnow proceeds methodically like an analytic philosopher and
thus links to the maxim of Concrete Art: “The piece of art must be completely
conceptualized and shaped in mind before it is realized.“ (Theo van Doesburg)
Born in 1978 in Gera, Germany. Artistically influenced by Graffiti and Street
Art, the artist‘s aim is to intervene in specific places. Places that were
closed to public awareness for a long time, and are now in the limelight as
so called Lost Places for urbanists and artists. Prochnow was working there
with spray paint and photographed the result. The final product is very often
the photo, which is less a documention than a photograph. Prochnow never
again visits these places that have been occupied by him for a short time.
What happens to them is beyond his knowledge. Prochnow is often working with
standardized geometric shapes and with DIN formats. Already as a master pupil
in Dresden he dug a finger into an artistic wound: His interest in the
ordinary usable format DIN A4 not only met approval in the academic
educational establishment. Prochnow went on undeterred with his focus and
followed the ideas of Concrete Art. The accentuation of formal array with
simultaneous negation of all metaphysic and every symbolism, is
characteristic for his creative work.
Amaral is interested in gestures that define Humans. When he paints with
objects, it is
exploring the idea of an action as a paradigmatic archetype. The will of spirit
against the resistance of matter. Because the objects mostly refuse to behave
as a brush, putting the artist in the face of failure of his vision. However,
by the understanding of its failure this becomes an authentic experience.
What happens when machines can do most physical tasks better
than any human could? We will soon need to deal with questions like this in
the near future. The issues and problems are extremely complex and the
processes for resolving them will, more than likely, not be peaceful.
Trujillo’s work references these concepts on a macro scale, the topography of
cities, the intricate connections of global computer networks, and the
complex digital structure of computer viruses. They all reflect a new era, a
new era of chaos.
When Trujillo first saw a laser cutter at work he was
mesmerized. He knew instantly it was something that he wanted to explore and
make art with. It quietly and smoothly moved across the work surface cutting
and engraving with a speed and precision that the greatest human craftsman
could never attain with a lifetime of practice. He began to realize that this
device, along with other technologies like 3D printing, robotics etc., which
have been around for a while, had reached a price point where they are now
affordable to a mass consumer market. This represented the beginning of a new
era of technological production that will rival the industrial revolution in
its ability to transform our lives and this planet. At first, he was elated
about this idea. He thought what wonders we will create. But, in thinking
about it more, he dreaded the monsters it would bring.
Osvaldo Trujillo is a visual
artist and professor, based in Los Angeles.
LAURA H. PARKER
With her current work,
she is using stars and planets (as well as incorporating a diverse lexicon of
imagery), as point sources of light to write as well as draw with. All of the
images are her own. With typically slow shutter speeds she has trained her
camera on Jupiter, the solar eclipse, a full moon, an eclipsed moon, and even
New York's Grand Central Station ceiling and spelled out an array of letters
and shapes. Each letter or shape bears the trace of the movement and
unsteadiness of her wrist. Thus, each of her intimate gestures registers
contact with the infinite and timeless. Both the act itself, and an intuitive
assembly of associations that occur in post-production have suggested the
words and ideas she has “pictured”.
For thirteen years Zamani’s works consisted of shear fabric
stretched over wire armatures that had been attached to either the wall or
panels. When lit, the interplay between the lit fabric and its shadow on the
wall or panel surface behind produced moiré patterns. These works were visual
experiences reminiscent of Op and Psychedelic art in their purely visual
impact. They could also be seen as an extension of the Los Angeles Light and
Space art movement with its intellectual questioning of perception. These
studies of light as particle and wave were timely and were motivated to play
analog against digital technology.
Zamani’s wall and room works led to constructing the domes for
physical actions. A dome in a state of disarray, as a dysfunctional
architectural form, of ideals and expectations, became the subject matter for
contemplations in drawing and paint. In contrast to his fabric and armature
paintings they argued the importance of failure.
His dome and tent paintings were less about paint than image.
Their recent transmutations are about paint. These paintings are portraits.
Perhaps even self-portraits, fragile portrayals. Some are ruins, some are
vessels, and transport. The new images in these paintings continue to grow
out of, or away from their predecessors. They are sometimes devils, then
angels. Some are on land, in sky or sea, occasional remnants, reformed or
transformed. They are a return as well as departure, departure from the dome
image and back to the way he used to paint.