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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

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...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

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...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

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,...

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Cerith Wyn Evans

b. 1958, United Kingdom

Cerith Wyn Evan’s conceptual practice incorporates a wide range of media, including installation works, sculptures, photography, film and text.

Wyn Evans began his career as a video and filmmaker, initially assisting Derek Jarman, and then making short, experimental films during the 1980s. Since the 1990s, his work could be characterised by its focus on language and perception, as well as its precise, conceptual clarity that is often developed out of the context of the exhibition site or its history. For Wyn Evans, installations should work like a catalyst: a reservoir of possible meanings that can unravel many discursive journeys. Moreover, his work has a highly refined aesthetic that is often informed by this deep interest in film history and literature. Indeed, Wyn Evans’ earlier creators often inhabit his work, an indication of his desire to keep their ideas in play or bring them back to life in order to use them as raw material for future thought. Often his works harness the potential of language to create moments of rupture and delight, where romantic longing, desire and reality conjoin. His Firework pieces, for example, are wooden structures that spell out open-ended texts that burn over a designated period of time. His Chandelier sculptures evoke notions of otherworldly communication by using sections of texts that have been translated into the flashing light signals of Morse Code. In his film and slide installations, such as The Curves of the Needle (2003), Wyn Evans manipulates sound to form a parallel ‘text’ to the visuals, where meaning is opened up by the unexpected slippage that occurs when the soundtrack is dislodged, changed or removed.

Featured Artworks

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Neon forms (resembling clouds...) by Cerith Wyn Evans contemporary artwork Cerith Wyn EvansNeon forms (resembling clouds...), 2014 Neon
67 x 170 x 4 1/2 inches
Marian Goodman Gallery
T=R=A=N=S (plane) by Cerith Wyn Evans contemporary artwork Cerith Wyn EvansT=R=A=N=S (plane), 2019 Primed canvas on wooden stretcher
45.7 x 35.6 x 2.5 cm
Marian Goodman Gallery
Neon Form (after Noh XIII) by Cerith Wyn Evans contemporary artwork Cerith Wyn EvansNeon Form (after Noh XIII), 2018 Neon
209 x 158 x 220 cm
Marian Goodman Gallery
Neon Form (After Noh XVI) by Cerith Wyn Evans contemporary artwork Cerith Wyn EvansNeon Form (After Noh XVI), 2018 Neon
206.9 x 197.4 x 82.1 cm
Marian Goodman Gallery
Locus Solus by Cerith Wyn Evans contemporary artwork Cerith Wyn EvansLocus Solus, 2010 Kokeshi dolls and mirrored plinth
Galerie Buchholz
Katagami Screen 3 by Cerith Wyn Evans contemporary artwork Cerith Wyn EvansKatagami Screen 3, 2015 Paper stencil, mulberry paper, persimmon lacquer, silk thread, artist frame
124.5 x 62 x 4 cm (incl frame)
Galerie Buchholz

Current & Recent Exhibitions

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Contemporary art exhibition, Group exhibition, Group exhibition at Taka Ishii Gallery, Tokyo
Open Now
23 March–27 April 2019 Group exhibition Group exhibition Taka Ishii Gallery, Tokyo
Contemporary art exhibition, Group Exhibition, That Which is Not Drawn at Marian Goodman Gallery, London
Closed
25 January–23 February 2019 Group Exhibition That Which is Not Drawn Marian Goodman Gallery, London
Contemporary art exhibition, Group Exhibition, Summer Selections at Marian Goodman Gallery, New York
Closed
28 June–24 August 2018 Group Exhibition Summer Selections Marian Goodman Gallery, New York

Represented By

In Related Press

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Neon scribbles by Cerith Wyn Evans hang in London's Tate Britain Related Press Neon scribbles by Cerith Wyn Evans hang in London's Tate Britain dezeen : 5 April 2017

Almost two kilometres of neon lighting shaped into sharp lines and sweeping forms create this installation by Welsh artist Cerith Wyn Evans, which is suspended in the Tate Britain's Duveen Galleries._Forms in Space... by Light (in Time) _is a major new installation by Wyn Evans, created for the Tate Britain Commission and supported by auction...

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Cerith Wyn Evans: 'Forms in Space... by Light (in Time)' review - an optical trapeze act Related Press Cerith Wyn Evans: 'Forms in Space... by Light (in Time)' review - an optical trapeze act The Guardian : 29 March 2017

It all begins with a white neon O, hanging above our heads like the shape the lips make before an exclamation. Or a spyglass aimed at the chaos beyond.Suspended partway down the long Duveen Gallery at London's Tate Britain, it reminds me most of an acrobat's ring; the eye swings through it, leaping into a dense tangle of white light that smears...

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Revamped Armory Show draws praise and crowds Related Press Revamped Armory Show draws praise and crowds The Art Newspaper : 2 March 2017

The Armory Show, opening to the public today and running through 5 March at Piers 92 and 94 on the west side of Manhattan, is the subject of scrutiny this year, the first fully under new executive director Benjamin Genocchio, and he has taken pains to distinguish the fair from its global competitors. 'This is not a franchise fair,' Genocchio told...

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A Certain Kind of Light review – let there be mirror balls Related Press A Certain Kind of Light review – let there be mirror balls The Guardian : 29 January 2017

A show about light: a light show – what might a curator put in? Just about all art concerned with making the world visible in some sense speaks of light, the very condition in which it was made.

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