Sean Snyder takes the global circulation of data as the raw materials for his practice. Snyder's underlying concern is to track the ways in which ideologies shape the representational languages of mass media. He experiments multi-layered signs revealing unexpected layers in an intentionally non-pedagogical way. Refusing to conform to conventions, his practice avoids simple classification. His installations deconstruct assumptions that might be attributed to a topic. Interrogating representation, the nebulous investigations, occasionally come into clear focus oscillating between fact and fiction. What might seemingly be intelligible, might turn out to be far more complex. Conversely, what may apparently be complex, might unravel in multi-farious, yet simple and uncomplicated ways.Read More
Selected solo shows include: Centre de la photographie de Genève, Genève, Suisse (2016); Document, Chicago, USA (2015); Kölnischer Kunstverein, Köln, Germany (2013); Städel Museum, Frankfurt am Main, Germany (2012); The Real War, The Israeli Center for Digital Art, Holon, Israel (2010); Brinkmanship, Redcat, Los Angeles, U.S.A. (2010); Index, Institute for Contemporary Arts, London, U.K. (2009); Sean Snyder, The Front Room - Contemporary Art Museum, Saint Louis, U.S.A. (2009); Schema (Television), Stedelijk Museum CS, Amsterdam, Netherlands (2007); Sean Snyder, National Museum of Contemporary Art, [MNAC], Bucharest, Romania (2007); Portikus im Leinwandhaus, Frankfurt am Main, Germany (2005); De Appel, Amsterdam, Netherlands (2004); Institute of Contemporary Art, Sofia, Bulgaria (2004); Kunstlerhaus Bethanien, DZ Bank Kunststipendium, Berlin, Germany (2003).
Text courtesy Galerie Chantal Crousel.