Support Structures @ Gathering Explores the 'Fixed Instability' of the Human Condition

Support Structures is a group show bringing together artists exploring the ‘fixed instability’ of the human condition. The exhibition provides a meditative space centering the notions of care and fragility as a collective responsibility. This mode of relationality evades linearity of time, avoids contractual relationships and instead embraces reciprocity and responsiveness by assembling works which elicit an affectual response. As opposed to adapting a representational approach, the exhibition stems from the experience of relatives and loved ones, the support networks.

Works by Alina Szapocznikow and Louise Bourgeois focus on the moment of intuitive, reconstructive shift towards the interest in frailty, both in terms of the choice of materials and the visual language. For Szapocznikow and Hesse in particular, cancer diagnosis has profoundly shaped their artistic efforts, leaving their legacies inherently bound to the ineffable physical and psychological experience. The precision of Maren Karlson’s paintings abstracts the mechanical nature of organisms, suggestive of ribcages, spines or car engines. The approach of quietly marrying the technological and organic are expanded by other artists included in the exhibition, such as Geumhyung Jeong, whose video reclaims a subtle but transformative dance of a complex mechanism.

Support Structures is on view starting Thursday 22 June 6-8 PM - 29 July at Gathering, 5 Warwick Street, London

Alina Szapocznikow: Sculpture Undone

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On view now at the Wiels contemporary art center in Brussels is an expansive survey of little known Polish sculptor Alina Szapocznikow (1926-1973) which coincides with the Polish presidency of the European Union and is one of the first major solo exhibitions of the artist's work outside of Poland. It concentrates on her most experimental period from the 1960s and 1970s, before her untimely death at age 47. As a Holocaust survivor who began working in the post-war period in a rather classical, figurative manner, her later experimentation and re-conception of sculpture left behind a legacy of provocative objects - at once sexualized, visceral, humorous, and political - that sit uneasily between Surrealism, Nouveau Réalisme, and Pop Art. Her tinted polyester-resin casts of her lips and breasts transformed into quotidian objects like lamps or ashtrays, her spongy polyurethane forms often embedded with casts of bellies or live grass, and her construction of resin sculptures that incorporate found photographs remain as remarkably biting, visionary, and original today as when they were first made. The exhibition features extensive archival materials as well as more than 100 artworks, including drawings and photography alongside Szapocznikow's sculpture and object-making. On view until January 8, 2012.