PETER J.EVANS
FEEDBACKER

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Seventeen Gallery, London
5/9 - 13/10 2007

Within Peter J. Evans' practise, drawings and objects formed by diagrammatic processes and artificial systems are used to chart and delineate abstract concepts such as human relationships, memory and beauty. These drawings are often formed by repetition of simple actions that build up over time into complex structures or form ambiguous pseudo-scientific, graphical tables. A series of drawings, constructed over a number of years, forms the backbone of this show, alongside a new large scale, wall drawing, using a Japanese ink-line process.

Evans is also installing a large floor-based sculptural intervention, which occupies the majority of the gallery space. In its white room, Waveformer, 2007 takes its visual cues from a gallery or museum floor, highly polished parquet. At the viewer's feet a series of waves are breaking and sliding to rest at the end of the room as the wood rises in folds and shifts. In producing this work Evans has fused a natural, shifting, aural phenomenon with a static and silent, authoritarian material. This relationship between form and material is echoed in Supernova Moment, 2006, pictured above, in which, conversely, a parquet explosion is frozen in angular stasis by the solemnity of its substance.

This is Evans first solo exhbition for the gallery and having toured from Spacex, Exeter, it will continue on to Workplace, Newcastle in 2008.



Supernova Moment
2005
100 x 100 x 100 cm
Parquet flooring





Waveformer
2007
549 x 300 x 60 cm
Beech parquet



Gradual Transformation
2007



Matter into matter into matter
2007
62.5 x 45 cm
Graphite on graph paper



Gradual Transformation (Tip of the iceberg)
2006
45 x 62.5 cm
Graphite and coloured pencil on graph paper



Forbidden city
2006
47.8 x 50 cm
Graphite and coloured pencil and Beijing dust on graph paper


http://www.seventeengallery.com/index.php?p=3&id=20&iid=0

 
JOHN DELK
JOHN & PAM CALL AMERICANS

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For this piece Pamela Jo Buchwald and I formed a non-profit organization, John & Pam, whose mission was to call Americans and "check in" to see how they were doing. During designated office hours we would report to work and call strangers across the country to ask if everything was going OK.
Responses to our service varied widely.

http://www.johndelk.com/work/gallery/235

PASHWAKA: pekna epilepsie..otakar i kubin davaj thumbs up

 
JOHN DELK
NEW CARS

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2002

New Cars consists of hundreds episodes of The Price is Right reduced to the climax of each show when a new car is offered as a prize. Strung together, the clips become an endless series of ecstatic moments.

QT: http://johndelk.com/static/dyn-files/0/270.mov

http://www.johndelk.com

 
SUSAN COLLIS
DON'T GET YOUR HOPES UP

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Seventeen Gallery, London
1/3 - 14/4 2007

Areas of the gallery walls appear to have been left unfinished after the de-installation of the previous show. Unusually the behind-the-scenes paraphernalia of display such as screw-heads, nail holes, rawl plugs and pencil marks are still in evidence, together with seemingly unintentional marks associated with the movement of art work. A bucket catches drips from the ceiling and a general air of neglect pervades.

Within Susan Collis practice, everyday objects and surfaces are presented splattered and stained with the marks of wear and tear, and the viewer might, upon further investigation, realise that the timeworn flecks of paint that cover an old broom, are in fact delicate and precisely inlaid pearls, jasper, turquoise, garnets and black diamonds. Initially, the demarcations seem to be the secondary results of a primary activity, seemingly worthless and easily ignored. Collis is interested in the shift of perception that takes place upon discovery that they are, in fact, intentional and primary activities themselves.

For this her first solo exhibition at SEVENTEEN Collis has produced a series of interventions that refer to the accidental and neglected, within the context of gallery space. The exhibition will be easy to overlook, as a cursory glance might lead the viewer to believe the gallery was empty. However, further investigation of the space will reward the viewer, leading them towards Collis notions of hidden labour, within a complex network of contradictions and revelations. Dont get your hopes up questions the structures and methods of its own production, together with the viewers most basic assumptions about artistic production and display.


Installation view


Made good (DETAIL)
Length 27 cm
Coral, black onyx, 18 carat white gold (hallmarked), diamond, silver. Edition of 10


Untitled, (Rawl plugs)
2007
Dimensions variable
Jasper, black onyx, red carnelian, garnet, brown goldstone


Waltzer (DETAIL)
2007
127.5 x 37 x 11 cm
Wooden broom, opals, turquoise, garnets, seed pearls, mother of pearl, black diamonds, white diamonds, fresh water pearls, coral, black onyx, marcacite.


Call the show off DETAIL
2007
Length 6 meters
Sapphires, smokey topaz, black diamonds, 18-carat yellow gold (hallmarked), citrine


Long gone (DETAIL)
2007
Length 135 cm
Carved turquoise, smokey topaz, Edition of 3


Rock bottom riser
2007
6 meters installed
Mother of pearl gemstones


Call the show off DETAIL
2007
Length 6 meters
Sapphires, smokey topaz, black diamonds, 18-carat yellow gold (hallmarked), citrine


Without you the world goes on
2007
Bucket, water, water pumping system, MDF, plaster, plug socket


Waltzer DETAIL
2007
127.5 x 37 x 11 cm
Wooden broom, opals, turquoise, garnets, seed pearls, mother of pearl, black diamonds, white diamonds, fresh water pearls, coral, black onyx, marcacite.


http://www.seventeengallery.com/index.php?p=3&id=14&iid=11

moc hezký, akorát arshama už jsme tady měli

Martin Oppel

Born in 1976 in Buenos Aires, Argentina
Lives and works in Miami, FL, USA

















http://www.galerieperrotin.com/artiste-Martin_Oppel-19.html

Xavier Veilhan

Xavier Veilhan (1963, Lyon) is a French artist who lives and works in Paris. His art consists of photography, sculpture and installations.



















http://www.galerieperrotin.com/artiste-Xavier_Veilhan2-8.html

Daniel Arsham

Born in 1980 in Cleveland Ohio, USA
Lives and works in New York and Miami, USA























http://www.galerieperrotin.com/artiste-Daniel_Arsham-17.html

SEEKER: ona tahleta kulturní elita se většinou vyznačuje vysokou mírou nadhledu, takže nějakých šoků bych se tu nebál

MATHEW: chudáčku a nezanechalo to na tobě následky? No třeba s tou fotkou, to je mi nezodpovědnost: přijde sem nepřipravená elita a zažije kulturní šok naruby....

DANCHEZ: jojo, četl jsem životopisnou knížku pavla horvátha a ten píše, že má občas pocit, jakoby malíř upustil paletu na plátno..přesně ti rozumim.

PASHWAKA: a nemusis me urazet kdyz tomu nerozumim:]

PASHWAKA: nevim no, tupost je to pro tech par vyvolenych,
ja mam treba z vetsiny "umeni" pocit ze ten clovek splacal nakou picovinu a pak k tomu vypoti naky referakt ktery tomu dava jakoby smysl.

DANCHEZ: no flame., ale "neomezenych" je mnohem vic., jsou to pouze jedinci, kteri se tomu aktivne venuji i po teoreticky strance., umeni je disciplina jako kazda jina a aby si ji rozumel, musis pro to holt neco udelat., predpokladat, ze umeni ma bejt jasny masam, je naprtosta tupost... coz v konecnym hledisku vytvari dojem elitarnosti, kterej je prirozenej

DANCHEZ: aha, tak to asi často měníš ikonku :D

MATHEW: to sem vzdycky ja.)

to se vždycky cca jednou za měsíc objeví nějakej takovej človíček..čím to je?.)

to smrdi flejmem.) hele za chvili se maznu

PASHWAKA: no to je asi pravda, jenze v tedle branzi je "neomezenych" par vyvolenych a to jsou ke vsemu autori umeni nebo kuratori.)