I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
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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