An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
303 Gallery is pleased to announce our second exhibition of new work by Elad Lassry.
A boundary-straddling artist whose work problematising the notion of a picture has carved out new dimensions in photographic discourse, Lassry creates interruptions and tension in evaluating images and objects. Referring to his pictures as 'units,' his works establish and aggregate an archival syntax that pushes photographs into other things, a destabilisation where each specific picture is both present and absent and simultaneously implicates other proposals.
For this exhibition, Lassry shows photographs and sculptures that alternate between flat experience and dimensionality. Black and white photographs of ski sets and boots bear signs of erasure or intervention, and outtakes from an imaginary fashion shoot are pieces of information suggesting systems much larger than themselves. In the centre of the gallery, a line of discarded hollow air compressors with incongruous lids made of cushiony polyester fibre gestures toward a proposed space of meaning, where what is experienced and documented have shifted. They exist in the realm of suggestion, where every possibility of intersection is valid, where the ghost of one system posits the limitations of the next. To this effect, the photographs of boots in a different series of pictures are studded with steel and collide with categorical images of sea life. Large stacks of carpet function as stations of oscillation, interrupting sightlines for viewing the photographs while compressing their own existence in space.
Lassry's work questions whether a picture can have dimension, whether an object can be flat. In Photoshop, flattening an image is the final step before printing, a collapsing of layers into one plane. This counterintuitive gesture can be seen reclaimed in Lassry's work. As images have proliferated beyond comprehension, as doubt has been sown into the veracity of any picture, Lassry proposes that each layer suggests another layer, that images should become objects while reality and representation become more aleatory.
Elad Lassry was born in Tel Aviv, Israel and he lives and works in Los Angeles. He has exhibited internationally including solo shows at Le Plateau, Paris (2018); Vancouver Art Gallery, Canada, curated by Jeff Wall (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Kunstnernes Hus, Oslo (2012); and Kunsthalle Zurich, Switzerland (2010). Group exhibitions include Walker Art Center, Minneapolis (2016); Solomon R. Guggenheim Museum, New York (2015); The Museum of Modern Art, New York (2014); Turner Contemporary, Margate, UK (2013); The Jewish Museum, Vienna (2012); 54th Venice Biennale (2011); The Photographers Gallery, London (2011); Aspen Art Museum, Colorado (2011); Sculpture Center, New York (2010); and New Museum, New York (2009).
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