Ryan Gander’s complex and unfettered conceptual practice is stimulated by queries, investigations or what-ifs, rather than strict rules or limits. For example, what if a child’s den of sheets were remade in memorialising marble (Tell My Mother not to Worry (ii), 2012)? What if all the pieces in a chess set were remade in Zebra Wood, so that neither side was entirely black nor white (Bauhaus Revisited, 2003)? Gander is a cultural magpie in the widest sense, polymathically taking popular notions apart only to rebuild them in new ways – perhaps by refilming the same ten-second clip 50 times over, as in Man on a Bridge (A study of David Lange), 2008. Language and storytelling play an overarching role in his work, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical, palindromic new word, ‘mitim’, into the English language. Occasionally his ludic concepts drift into more bodily, relational challenges, especially in This Consequence of 2006, that involved the unsettling presence of a gallery owner or invigilator dressed in an all-white Adidas tracksuit, with an additional sinister red stain embroidered into the fabric. Invitation and collaboration are also at the heart of Gander’s fugitive art – whether he’s exchanging fictionalised newspaper obituaries with an artist-friend or taking pictures of people looking at pictures at an art fair – although arguably every solipsistic action he takes merely holds up yet another mirror to his ceaselessly voracious mind.Read More
Ryan Gander, born in Chester in 1976, lives and works in London. Recent solo exhibitions include FRAC Île-de-France / Le Plateau, 2013; Palais de Tokyo, Paris, 2012; Museo Tamayo, Mexico City, 2012; Haus Konstruktiv, Zurich, 2010; Solomon R Guggenheim Museum, New York, 2010; Ikon Gallery, Birmingham, 2008; the Stedelijk Museum Bureau, Amsterdam, 2007 & 2003; MUMOK, Vienna, 2007, and the CCA Wattis Institute for Contemporary Arts, San Francisco, 2007. He has also shown in group exhibitions such as the Shanghai Biennale, 2012; documenta 13, Kassel, 2012; ILLUMInations, 54th Biennale di Venezia, Venice, 2011; 55th Carnegie International, Pittsburgh, 2008, and the Sydney Biennial, 2008. Ryan Gander has been awarded numerous prestigious prizes, among others the Zürich Art Prize, 2009, the ABN Amro Art Price, 2006, the Baloise Art Statements of the Art Basel, 2006, and the Dutch Prix de Rome for sculpture, 2003.
Text courtesy Lisson Gallery.
Natalie Rudd, Senior Curator of the Arts Council Collection, discusses the touring exhibition Breaking the Mould: Sculpture by Women Since 1945.
For me personally, I’d much rather engage with the art market and within that I can safeguard the legacy of my artwork by putting it in collections and earn my own money to produce more work.
At the time of this interview Ryan Gander is enjoying his last day at STPI before he returns to his native UK, and previous resident Rirkrit Tiravanija has returned for the opening of his solo show...
It was a telling coincidence that the opening of the tenth Liverpool Biennial, curated by Kitty Scott (a curator at the Art Gallery of Ontario) and Sally Tallant (Director of the Liverpool Biennial),
Cockatoo Island, a short ferry ride from Sydney’s Circular Quay, is the least likely place one would expect to be simultaneously cast and filmed for a motion picture set predominantly in Berkeley, Cal
This October, Store Studios will host Everything At Once, an extensive off-site exhibition featuring 24 artists currently shown at Lisson Gallery in celebration of its 50th anniversary.
British artist Ryan Gander is an ideas man. They are his métier and material, not just because he is a conceptual artist but also because he has an insatiable, childlike curiosity about everything. Ar