A Birthday Present as a Watch, exhibition view, galerie frank elbaz, Paris, France, 2017 Photo: Zarko Vijatovic
have spent the past five years interviewing my grandmother, now 86
years old, along with her friends and colleagues, to document her
life within the arts. During the process, I discovered, among the
stories that are repeated and rehearsed over time, stories that are
not part of the grand narrative of one’s
life. They are off-script, anecdotal and elliptical. Aging provides a
longer, and more complex space for time to jump through one’s
own lifespan; even as it moves parallel to the political, cultural
and societal realities of the time. The works in this show abstract,
distort, suspend, estrange and punctuate time.
of nature, media, public
and domestic space are investigated through
a wide range of media, often implementing techniques of editing as a
way to question the mechanics of memory.
Craven has been painting the moon for over two decades. Two small
moons, painted en plein air and seven minutes apart (their dates and
times recorded in the titles) correspond to another pair of Craven’s
paintings - copies of one of the original moons - enlarged and represented in mirror images of each other later
that year. Through her rigorous and singular painting practice,
Craven repeats, reuses, layers, and creates a meticulous archive of
these subjects. Her work reads as a diary, marking time as it moves
forward and collects moments past.
Djordjadze presents an installation of hinged steel plates that take
over an entire wall of the gallery, and two free standing sculptures:
one that is empty and another that is an enclosed volume. The works
reference functional design and the body in architectural space, yet
are reduced to rudimentary, intuitive forms that have a capricious
relationship to the supporting surface.
A psychological domestic
interior is also imagined via Ketuta Alexi-Meskhishvili’s
site-specific curtains, which establish a veil between the exhibition
space and the outside world. The transparent, billowing fabric
(through which visitors have to cross to enter the gallery) is
printed with images made using a variety of digital and analog
photographic methods - including
images of the artist’s
own flesh as seen from a computer screen, embedding herself into the
Talia Chetrit mines from past series of her work to
present an edit that generates a new, if fragmented, narrative. Each
of the four photographs depict the body in parts or whole (limbs are
emphasized) and the subjects are unidentified, except for one image
of the artist herself, who is seen stepping over the camera.
Weinberger conceived of a multi-channel video installation for the
viewing room of the gallery. Three videos from 2015, 2016 and 2017
are projected simultaneously on a loop in a complex, symphonic
composition of discordant sound and image. The footage, collected by
Weinberger from daily life and travel, transforms the familiarity of
Western city streets, restaurants, museums and aquariums, into
estranged, dream-like sites where contemporary life of consumption
Howardena Pindell’s Video
began in the 1970s, also questions and complicates sources she finds
from everyday life, specifically network television. Made by affixing
a sheet of acetate marked with diagrammatic, curvilinear arrows and
numbers, the layered image is then photographed using a 35mm camera.
While the drawings are illegible, by suspending an instant on screen
and emphasizing the form and movement of the bodies (in this case all
black players), she calls attention to the coded roles mass media
instills on our consciousness.
Alexi-Meskhishvili (b. 1979 Tbilisi, Georgia; lives and works in
Berlin, Germany) had her first solo institutional show in 2015 at the
in Cologne. She has also had solo exhibitions at
Micky Schubert, Berlin; Andrea Rosen, New York; and
Kaufmann Repetto, Milan. Her work was included in the 2013 New
Museum Triennial and exhibitions at the FRAC Haute-Normandie, Rouen;
the Kunstverein Hannover, Hannover; Bielefelder
Kunstverein, Bielefeld and Bridget Donahue
gallery, New York. Her work has been featured and reviewed in
publications including Artforum, The New Yorker, The
New York Times and Frieze magazine.
Chetrit (b. 1982 Washington D.C., USA; lives and works in New York,
NY, USA) has had work exhibited in institutions such as the Whitney
Museum of American Art, New York, NY; Palais de Tokyo, Paris;
Sculpture Center, New York, NY; LACMA, Los Angeles, CA; and the
Museum of Contemporary Art, Miami, FL among others. Her work has been
featured and reviewed in publications including Artforum, Art
in America, Frieze Magazine, The New York Times, and The New Yorker.
She was recently shortlisted for the AIMIA | AGO Photography Prize,
Canada’s most important
prize for contemporary photography.
Craven (b. 1967 in Boston, MA, USA; lives and works in New York, NY,
USA) recently had her first survey exhibition at Le Confort Moderne
in Poitiers and produced an accompanying monograph called Time.
She has had recent solo exhibitions at Maccarone, New York, NY;
Southard Reid, London; Hannah Hoffman Gallery, Los Angeles, CA and
has been included in group exhibitions at White Flag Projects, St
Louis, MO; White Columns, New York, NY; Galerie Eva Presenhuber,
Zurich; FRAC Champagne-Ardenne, Reims; Gladstone Gallery, New York,
NY; and Fondation d’Entreprise
Ricard, Paris. She will be included in an exhibition curated by Marc
Bembekoff at Centre d’art
contemporain des Bouchers, Vienne, France, this spring.
Djordjadze (b. 1971 Tbilisi, Georgia; lives and works in Berlin,
Germany) studied at the Kunstakademie Düsseldorf
with Rosemarie Trockel and has been the subject of solo exhibitions
at the South London Gallery, London; MoMA PS1, Long Island City, NY;
MIT List Visual Arts Center, Cambridge, MA; Kunsthalle Basel; Malmö
Konsthall and the Secession in Vienna. Her work was included in the
Georgian Pavilion at the 2013 Venice Biennale and she presented a
solo installation at Documenta 13 in Kassel.
Pindell (b. 1943 Philadelphia, PA, USA; lives and works in New York,
NY, USA) has exhibited internationally since the 1970’s.
Her work is included in the collections of the Metropolitan Museum of
Art, New York, NY; The Museum of Modern Art, New York, NY; the
National Gallery of Art, Washington D.C.; The Whitney Museum of
American Art, New York, NY; the Studio Museum in Harlem, New York,
NY; the Museum of Contemporary Art in Houston, TX; the Walker Art
Center, Minneapolis, MN among others. Pindell will be included in
upcoming group exhibitions at the Tate Modern, London; the
Metropolitan Museum of Art, New York, NY; The National Gallery in
Washington D.C.; and the Los Angeles County Museum of Art and Sprueth
Magers in Los Angeles, CA. She will have her first major survey at
the Museum of Contemporary Art in Chicago in 2018.
Weinberger (b. 1988 Filderstadt, Germany; lives and works in Basel,
Switzerland) has had recent solo exhibitions at the Schinkel
Pavillon, Berlin; Badischer-Kunstverein, Karlsruhe; MIT List Visual
Arts Center, Cambridge, MA; Kunsthaus Bregenz; Swiss Institute, New
York, NY; Kunsthalle Basel and Freymond-Guth Fine Arts, Basel and
Freedman Fitzpatrick, Los Angeles, CA. She has been included in
Manifesta 11 in Zurich and the 12th Biennale de Lyon along with group
exhibitions at Fondation Louis Vuitton, Paris; Astrup Fearnley
Museet, Oslo; Centre d’Art
Contemporain, Geneva, among others. She was shortlisted for the Swiss
Art Awards in 2016 and is the recent recipient of the Guggenheim
Award, Dr. Georg and Josi Guggenheim Foundation.
Julia Trotta is a curator, writer and advisor based in New York. She is currently in production on a documentary on the life and work of her grandmother, art historian Linda Nochlin.