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DOCUMENT is pleased to present Ode to Seekers 2012, Andrew Norman Wilson’s second solo exhibition at the gallery. The exhibition will open on September 17, 2016 and continue through November 5, 2016.

Andrew Norman Wilson is an artist and curator based in Los Angeles whose videos and installations address a heady rush of images, technology, and bodies caught in the streams of circulation and representation that our era demands. He has recently had work featured in the seventh Bucharest Biennale, the ninth Berlin Biennale, and will have a new video installation as part of the eleventh edition of the Gwangju Biennale, curated by Maria Lind, which opens on September 2, 2016.

ODE TO SEEKERS 2012 is a looped video that celebrates mosquitoes, syringes, and oil derricks. Not only are they symbols of some of the most significant threats to human life—mosquito borne illnesses, drug addiction, and the petroleum industry—but they are also the causes of three of my most significant personal traumas.

In 2012 I received psychological testing at Rockland Psychiatric Center in Orangeburg, New York, which had been a pioneer of the “therapeutic suburb” model for mental institutions when it was built in 1927. I realized that a large portion of the campus had become abandoned, and not only hadn’t been cleaned out, but carried a history of sporadic reactivation by junkies, homeless people, teens, and artists. I began bringing friends there to explore and shoot video, and on my last trip I shot footage in which I misused a Steadicam to create what seems to me like a mosquito’s point of view.

Like Steadicam footage, which is meant to transport the viewer to the perspective of someone—or something—else, CGI is a technique based in seeking. It illustrates objects hidden from view or movements too small for the naked eye, with the potential for a cartoon physics beyond the laws of our physical universe. I worked with the Romanian animator Vlad Maftei on this video because of his range of experience—from hyperreal renderings of vital organs for the health care industry and architectural renderings of buildings-to-be to Spongebob Squarepants advertisements. Much of my thinking about the composition of Ode to Seekers 2012 is based on John Keats’s “Ode on a Grecian Urn,” wherein the titular art object is treated as eternal, intensifying the speaker’s sense of mortality. In keeping with the structure of an ode, my work consists of three movements. In the first—to the sound of an exploratory house track by Marcellis—the broken camera roves through the abandoned children’s ward corridors of Rockland. Second, highly saturated computer-generated 3-D models of the mosquito, syringe, and oil derrick appear under magic-hour lighting, slipping in and out of an ecstatic trance of liquid extraction—or injection—from a surface that looks at once like desert salt flats, skin under a microscope, and potato casserole. In sequences that are edited like a music video, these objects joyously thrust, pierce, and pump to my remix of Icona Pop’s 2012 banger “I Love It.” Third, each model and its pumping functions are co-opted by an assembly line apparatus, at once medical and industrial, that sucks the color out of everything that comes down a pipe.

Making this piece has been a process of grasping for a fantasy that I see when I’m jogging in a new city or under some kinds of influences. I can’t describe what the fantasy is, and I will probably never reach it. The similarities between my behavior and that of these three forces suggest a sense of camaraderie, but they also provoke a fear that, like those objects, I may just be a puppet of algorithms or economic networks or genetic coding. Still, I work my way through a neural reward system in pursuit of something fleeting, or perhaps even unattainable.

— As told to Paige K. Bradley in Artforum, 500 words 8.30.2016

Elizabeth Atterbury

Elizabeth Atterbury (born 1982, West Palm Beach, FL) lives and works in Portland, Maine. Recent solo and group shows include Kate Werble Gallery, The Portland Museum of Art, Mrs, The Colby College Museum of Art, Waterville, kijidome, Boston, Document, Chicago, TSA, Brooklyn, Bodega, Philadelphia/New York, KANSAS, New York, and The ICA at Maine College of Art, Portland, among others. In the Middle, An Oasis, a monograph of her work, was published by Bodega Press in 2013.

She received her BA from Hampshire College and her MFA from MassArt.

The Well, The Wall, 2016 Silver gelatin print 20 x 24 in

The Well, The Wall II, 2016 Silver gelatin print 20 x 24 in

Beach Woks (Marks of a Tool II), 2016 Silver gelatin print 20 x 24 in

Still Life with Popcorn and Pits, 2016 Silver gelatin print 11 x 14 in

Logogram III, 2016 Silver gelatin print 20 x 24 in

Logogram II, 2016 Silver gelatin print 20 x 24 in

Logogram I, 2016 Silver gelatin print 20 x 24 in

Sunny Side, FL (Tomb), 2016 Enamel paint, steel 12 x 7 1/2 x 5 1/2 in

Sunny Side, FL (The Cut), 2016 Enamel paint, steel 13 1/2 x 28 1/2 x 1 1/4 in

Sunny Side, FL (Sunset Hedge), 2016 Enamel paint, steel 1 1/2 x 16 x 2 1/2 in

Sunny Side, FL (Small House), 2016 Enamel paint, steel 1 x 16 3/4 x 14 1/2 in

Sunny Side, FL (Bull Shark), 2016 Enamel paint, steel 2 1/2 x 18 x 1 1/2 in

Sunny Side, FL (Paper Cut / Hedge), 2016 Enamel paint, steel 10 x 9 x 1 3/4 in

Sunny Side, FL (Noguchi's Intetra, Mist Fountain), 2016 Enamel paint, steel 11 x 9 1/2 x 9 1/2 in

Sunny Side, FL (Lawn), 2016 Enamel paint, steel 9 x 9 in

Sunny Side, FL (Big House), 2016 Enamel paint, steel 16 x 18 x 6 in

Sunny Side, FL (Palms), 2015 Enamel paint, steel 17 1/2 x 11 x 16 in

Relief (China White), 2015 Plywood and paint 33 x 48 x 1 3/4 in

Moonlight on the river, 2014, chromogenic print 14 x 11 in

Slow Song, 2014, chromogenic print 14 x 11 in

Marks of a tool, 2014, silver gelatin print 11 x 14 in

Rake, 2014, Silver gelatin print 24h x 20w in

Ghost Tracks, 2014, Silver gelatin print 24h x 20w in

Black Beach, 2014, silver gelatin print 14 x 11 in.

Bones, 2014 Silver gelatin print 11 x 14 in

Glyphs II, 2014 Silver gelatin print 11 x 14 in

Glyphs, 2014 Silver gelatin print 11 x 14 in

Site, 2014 Silver gelatin print 11 x 14 in

Sculpture Park, 2014 Silver gelatin print 11 x 14 in

Bricks, 2013, chromogenic print 14 x 11 in

Harry, Henri, Sal, 2013, chromogenic print 14 x 11 in

Blue runner, 2013, chromogenic print 14 x 11 in

JULIEN CREUZET: AFTER THE STORM

Frieze Magazine

April 2018


Bétonsalon & Fondation d’enterprise Ricard, Paris, France

Native to the islands of the Caribbean, the manchineel tree is known in the West by the name the conquistadors gave it. The manzanilla de la muerte – little apple of death – grows along the shore, its fragrant yet toxic green fruit tempting sailors newly arrived from the high seas.

The treacherousness of manchineels is evoked in the haunting, beautiful title of Julien Creuzet’s exhibition at Fondation d’entreprise Ricard: ‘All that sea distance, for the oil filaments of the manchineel to stop our heartbeats. – The rain made that possible (…)’ The other part of this dual show runs at Bétonsalon under a different title, extracted from the same poem, written by the artist. The Bétonsalon title begins ‘The rain made that possible’ and ends ‘All that sea distance’, such that the two follow one another in an endless cycle, like waves lapping upon the shore.

Julien Creuzet, 'La pluie a rendu cela possible' (The rain made this possible), 2018, exhibition view 

Julien Creuzet, ‘La pluie a rendu cela possible’ (The rain made this possible), 2018, installation view, Bétonsalon, Paris

The sea – what it brings and what it takes; what its distance separates and its depths conceal – is central to these exhibitions. The artist himself grew up in Martinique – which is to say that his identity, in part, has been defined by the great in-betweeness of the water, the outre-mer that separates France from its overseas administrative territories.

Each show is a constellation of objects that might have been deposited by a storm tide. Creuzet has previously referred to his whole-show installations as ‘archipelagos’, borrowing Edouard Glissant’s vocabulary of ‘mondiality’ – the influential Martiniquais philosopher’s notion of a global community that preserves diversity and difference. Clumped mattings of natural and synthetic materials are circled with threads that evoke both fishing nets and the paralysing tentacles of the Portuguese man o’war. (Named for the armed galleons whose wind-inflated sails their floating polyps resemble, the transparent tentacles of these colonies of organisms can extend for up to 50 metres underwater. They offer an apt metaphor for the insidious residues of European imperialism.) A nacreous shell balances on a slice of Nike shoe; a sponge, air-dried and desiccated, nestles next to a row of aeroplane seats that seem to have landed sideways from the sky on a new crossing of an old journey.

At Bétonsalon, Chinese-made plastic mats, woven with African patterns, fray like the tops of mangled sugarcane or grasses in the sand-dunes – overlayingcontemporary and historical trade networks, and the circulation of cultural signifiers in a hyper-connected world. Plastics, products of the petrochemicals industry that defines the global economy even as it threatens to destroy it, are conspicuously present here – although, as with the grassy mats and the green plastic beads scattered on the floor like sand-grains, they often evoke natural forms. Ecological questions are complexly layered with social ones.

Julien Creuzet, 'La pluie a rendu cela possible' (The rain made this possible), 2018, exhibition view 

Julien Creuzet, ‘La pluie a rendu cela possible’ (The rain made this possible), 2018, installation view, Bétonsalon, Paris

More than archipelagos, to me these exhibitions feel like mangroves: their trees evoked by the wrapped, vertical, twig-like forms suspended from the ceilings at both venues. They are filled with the mysteries and shadows that this edge-of-water zone holds in the Caribbean imaginary. Two ghostly, prone anthropomorphic figures, both black – a flattened silhouette at Bétonsalon and a mesh-wrapped baby with a face resembling an African mask at Fondation Ricard – recall the horrors of the middle passage, as well as more recent European tragedies of migration.

Both spaces resonate with the sound of the artist’s voice, as he incants songs drawn from the title poem. At Bétonsalon, a refrain repeats over a sparse melody: ‘Il faut refaire le tour […] il faut refaire le temps’. Creuzet, who often uses poetry and music in his work, is at his most mesmeric here, taking his words off the page and making them felt, physical. ‘We need to go back […] we need to remake time’: for all the violence and difficulty of his themes, I get the sense that Creuzet’s worldview, like Glissant’s, is generous, perhaps even hopeful. Maybe, in the thickets of the mangrove, there is a way forward together.

Main image: Julien Creuzet, ‘La pluie a rendu cela possible’ (The rain made this possible), 2018, installation view, Bétonsalon, Paris

Amy Sherlock is deputy editor of frieze and is based in London.

Owner
Aron Gent
aron@documentspace.com
Director
Sibylle Friche
sibylle@documentspace.com
General Inquiries
info@documentspace.com

Gallery hours:
Tuesday-Saturday: 11am-6pm

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DOCUMENT is a commercial gallery located in Chicago that specializes in contemporary photography, film and media based art. The gallery has organized more than 30 solo exhibitions since its opening in 2011 and actively promotes the work of emerging national and international artists. Operating conjointly as a professional printmaking studio, DOCUMENT facilitates the production of works by artists from Chicago and the US. At this time we do not accept unsolicited submissions.