Nathaniel Rackowe at the Total Museum of Contemporary Art, Seoul, South Korea
10-26 June 2009
I-MYU Projects and Charles Danby are pleased to present an international exhibition of eight British artists : Philip Allen, David Batchelor, Fiona Banner, Martin Creed, Dryden Goodwin, Peter McDonald, Nathaniel Rackowe, Gary Webb
London Calling: Who Gets to Run the World presents works by British artists clustered through interlaced ideas of architectural structure, plasticised colour and the resonating flicker of the still image. Fracturing recurrent motifs, layers of paint disrupt the surface image of Phillip Allen's architecturally encoded paintings, while the superimposed portraits of Dryden Goodwin's Red Studies (2004-present) mark open and fragmented points of time. They rest in contrast to the singular moment of their photographic equivalent. The text-based works of Fiona Banner, transcribed cinematic sequences hold the moving image in stasis, functioning as temporary portraits or photographic stills, while momentary shafts of static light are cast out from a moving light source within the spliced architectural mass of Nathaniel Rackowe's large-scale sculpture Black Shed (2008). Peter McDonald's paintings offer flickers of social narrative representing an idealistic world revealed through the reduced receptacles of colour, transparency and geometry. Gary Webb's mirrored towers, Dressed up and ready to go (2008) create transformative revisions of their reflected and immediately localised exterior environments. Martin Creed's Shit (2008) marks an ordinariness of event and spectacle, a collective creative statement deftly removed from sensation. In completion David Batchelor's works explore the assemblage of mass-manufactured objects and readymade fixtures through material and colour, objects that underpin market cultures of international exchange, of manufacturing and consumption.
www.totalmuseum.org
London Calling: Who Gets to Run the World presents works by British artists clustered through interlaced ideas of architectural structure, plasticised colour and the resonating flicker of the still image. Fracturing recurrent motifs, layers of paint disrupt the surface image of Phillip Allen's architecturally encoded paintings, while the superimposed portraits of Dryden Goodwin's Red Studies (2004-present) mark open and fragmented points of time. They rest in contrast to the singular moment of their photographic equivalent. The text-based works of Fiona Banner, transcribed cinematic sequences hold the moving image in stasis, functioning as temporary portraits or photographic stills, while momentary shafts of static light are cast out from a moving light source within the spliced architectural mass of Nathaniel Rackowe's large-scale sculpture Black Shed (2008). Peter McDonald's paintings offer flickers of social narrative representing an idealistic world revealed through the reduced receptacles of colour, transparency and geometry. Gary Webb's mirrored towers, Dressed up and ready to go (2008) create transformative revisions of their reflected and immediately localised exterior environments. Martin Creed's Shit (2008) marks an ordinariness of event and spectacle, a collective creative statement deftly removed from sensation. In completion David Batchelor's works explore the assemblage of mass-manufactured objects and readymade fixtures through material and colour, objects that underpin market cultures of international exchange, of manufacturing and consumption.
www.totalmuseum.org
