HEIMO ZOBERNIG SOLO EXHIBITION AT FREIDRICH PETZEL
Austrian artist Heimo Zobernig second solo exhibition is currently running through March 26, 2011 at the Freidrich Petzel gallery.
Since the early 1980’s, Heimo Zobernig has mined various art historical moments and movements, specifically Modernism, post-Modernism, Geometric Abstraction and Minimalism, with a rigorous and interrogatory spirit. His often playful approach also includes a keen and abiding affinity with modes of display, set design and theatricality. For this exhibition, Zobernig will present new grid and monochrome paintings and two new sculptures. The new monochrome works will consist of his signature use of chroma key blue, a blue that also references International Yves Klein blue and its subsequent associations with performance, a key element in Zobernig’s practice as well.
The new sculptures, made with base materials such as plaster, particleboard, wood and Plexiglas mirror, suggest a precarious object-hood, or arguably an undefinable existence. The curator Martin Clark refers to Zobernig’s sculptures as “prop-like… They operate in and on the world as active, restless, and undecidable objects.” Zobernig seems to deliberately keep his approach to art- and exhibition-making in a constant state of destabilization, perpetually questioning its very nature.
MARCEL DZAMA ‘BEHIND EVERY CURTAN’ EXHIBIT AT DAVID ZWIRNER
The exhibition will feature the artist’s ﬁlm, A Game of Chess, alongside related drawings, sculptures, and dioramas. Dzama has become known for his proliﬁc drawings, which are characterized by their distinctive palette of muted browns, grays, greens, and reds. In recent years, the artist has expanded his practice to encompass three-dimensional work and ﬁlm and has developed an immediately recognizable language that draws from a diverse range of references and artistic inﬂuences, including Dada and Marcel Duchamp. Dzama’s ﬁlm features characters based on the classic game of chess. Dressed in geometrically designed costumes of papier-mâché, plaster, and ﬁberglass and wearing elaborate masks (including a quadruple-faced mask for the King), the ﬁgures dance across a checkered board to challenge their opponents in fatal interchanges.
Potnia Theron and Joan of Ach before the Judges of Guadalajara
Chess occupied a central role for the early twentieth-century avant-garde, who drew explicit analogies between the game (with its intricate balance between improvisation and predetermination) and artistic practice. Dzama is inﬂuenced by German Bauhaus artist Oskar Schlemmer, whose Triadic Ballet from 1922 included puppet-like, costumed, and mask-wearing ﬁgures dancing across a checkered surface. French ﬁlm-maker René Clair and painter Francis Picabia were amongst other artists who integrated ballet and chess in their works from the 1920s, employing the special set of rules and moves of the game as metaphors for larger questions regarding free will, destiny, and technological determinism.
Molly Bloom’s Endorsement
The exhibition will also present rotating sculptures based on central characters in the ﬁlm, as well as a mechanized carousel with puppets made from tin and ceramics. Upon entering the exhibition, visitors will ﬁrst encounter Dzama’s drawings and a room of sculptures before reaching the ﬁlm installation. This gradual, three-tiered transition from ﬂat, wall-mounted works, via rotating sculptures, to moving images coincides with a shift from light, quiet spaces to the darkened area of the ﬁlm with its accompanying acoustics. Further emphasizing this contrast, a mariachi band will stage a live performance of music inspired by the ﬁlm’s soundtrack on the exhibition’s opening night and at selected times throughout its duration.
The Revolution’s been defeated, before you begin
Both the ﬁlming and the creation of the costumes for A Game of Chess were carried out in Guadalajara, Mexico, and the inﬂuence of local crafts and religious traditions can be felt throughout this body of work. Notions of scapegoatism and resurrection blend with the timeless idea of rivalry represented by the game, and distinctions between reality and ﬁction ultimately become blurred as both costumed and “real-life” characters in the ﬁlm are killed. The storyline in this way recalls the Surrealist predilection for dream logic over conventional narrative form—epitomized by Luis Buñuel’s ﬁlms from the late 1920s and early 1930s. However, Dzama still retains a strong sense of a plot, with subtle insinuations to contemporary life discernible throughout.
The exhibit runs through March 19, 2011 at David Zwirner Gallery in New York City.