An exhibition of artworks that use everyday thinges as readymades, assembled or taken apart, copied or alluded to, put together by João Penalva.
Ingrid Furre, Joseph Grigely, Kentaro Hiroki, Narelle Jubelin, Ian Kiaer, R. Rom, Antonina Sofronova, James Welling and Richard Wentworth
07 June – 03 August, 2013
Ulchiro project: Inflatable, 2013
plastic, polystyrene, paper, fan
model: 10.5 x 52 x 52 cm
inflatable: 220 x 260 x 250 cm
poster: 194 x 130 cm
The Ulchiro project, started in 2008, takes its name from a district in Seoul where a building materials market is being displaced, making way for an artificial river running through the city. Kiaer’s works of fragmentary, utopian models, industrial remnants, architectural structures, inflatables and posters are, in his own words, “contingent, flexible gestures”.
Transitional objects, uncommon parts, 2013
embossed plastic wall text.
three prototype, white lacquered steel L-beam shelves, designed by Marcos Corrales Lantero in 2004, Madrid. Produced by Ediciones Despacio SL, Madrid.
10 x 30 x 45 cm
Jubelin’s work often takes the form of displays of found, purchased or gifted items — artefacts, common and unique objects — and her own petit point renditions of images from the most various sources. The understanding of the relationships between these disparate items often relies on descriptive labeling that, while resembling museological attribution, combines her historical, geo-political research into the displayed objects with biographical anecdote and coincidence.
Pure cotton saree cloth, purchased in 2012 from Haniffa Emporium Pte. Ltd., (Est. in 1962), Little India, Singapore. Marked ‘Product of India’;
approximately 31 x 38 x 3 cm (folded)
eight broken Lalique Cabochon Gourmande crystal rings, designed by René Lalique in 1931. One received as a gift on the birth of my son in 2001, in Madrid, accidentally broken by him in 2003, and pieces from Cabochon rings purchased since. Lalique offers an exchange guarantee of a half price new ring if the original is broken within a year of purchase;
black ridged, flat-ended trade bead, purchased in 2003 from Egyptian Spice Bazaar, Istanbul, (built in 1664). Identified as ‘Kenyan’;
approximately 4.7 x 1.5 cm
three flat-ended brown trade beads purchased in 2013 from New Caledonian Market (founded in 1855), London, also known as Bermondsey Antiques Market. Beads described as ‘Old tribal components large Africa’, and ‘possibly Antique Cranberry Glass’.
approximately 2.6 x 2 cm, 2.6 x 1.5 cm, 2.7 x 1.5 cm
Silk saree cloth with metallic thread, purchased duty free in 1990, in British Hong Kong, from International Freight and Passenger Terminal, Hong Kong Kai Tak Airport (1924-1998). Labeled ‘Product of India’;
approximately 24 x 40 x 4 cm (folded)
two 1959 Australian pound one shilling silver coins, purchased by weight in 2013, with added hanging rings to be worn as jewelry, from Quilates, Pasaje Comercial Carretas, Madrid. Coins bear Elizabeth II on the obverse and Merino sheep and the Comonwealth Star on the reverse;
2.35 cm diameter
six bronze Wang Mang Chinese coins (c. 23AD) received as a gift from a friend in 2013, in London, with added cotton petit point on silk gauze renditions of grains of rice, sewed in Madrid, 2013;
appx. 2.5mm diameter
two found brass, currently circulating Spanish 10 euro cent coins, with added lead ring to match the weight of the 2 euro coin, received as a gift in 2012 from Bar Candela, Lavapiés, Madrid. Used fraudulently in cigarette vending machines and parking meters.
approximately 20.32mm diameter
Pure cotton saree cloth with plaid and seed pattern, purchased in 2001 from Haniffa Emporium Pte. Ltd., (Est. in 1962), Little India, Singapore, labeled ‘Made in India’.
33.5 x 36.5 x 4 cm (folded)
shell from ostrich egg received as a gift from my son in 2013, purchased from Chamartin Food Market, in Madrid, (Est. in 1962). Misdescribed by him as ‘a Cassowary egg’, accidentally broken three days after receiving it.
replacement ostrich egg purchased in 2013 from the same market vendor who described it as “European”; appoximately 21 cm x 42 cm diameter
black caraway seeds purchased in 2013 from Friday Morning Turkish Market, in Kreuzberg, Berlin, (started from the 1970s). The source of the seeds is believed to be Gujarat, in India.
FedEx work 8020 9254 3631, 2013
pencil on paper, paper clip
23.5 x 24 cm
From 1998 to the present Kentaro Hiroki has methodically copied receipts, tickets and other ephemeral documents of his daily travel and shopping. Since 2007 he has also copied discarded paper items found during the course of both.
Rubbish works, 2012
Camel cigarettes, Hung To Road, Hong Kong, 2012
Bombay sweet, Hung To Road, Hong Kong, 2012
Lay snack, On nut Road, Bangkok, 2012
Thai-Danish milk, Thian Thale 25, Bangkok, 2012
pencil on paper
Measure, measure (for Bigas Luna), 2013
assorted timbers, steel, glass and foodstuffs
In the past, Wentworth has commented on “Berlin’s scale and calibration”, having lived in the city from 1993 to ’95. In his words, Measure, measure is a response not just to Berlin’s characteristics but also a gentle memorial to his friend from the 1970s, who first introduced him to the ‘exotic’ and ideas of extemporisation and resourcefulness in Barcelona in the years before the death of Franco.
Untitled #9 (New Abstraction), 1998
silver gelatine print
89 x 67 cm
edition of 3
The series New Abstractions 1998-2008 began as 20.3 x 25.4cm photograms of superimposed, discarded strips of heavy Bristol board paper. The final gelatin silver prints were printed from highly contrasted negatives produced by digitally scanning the original photograms.
(Quadralaterals 2006), 2006
106.7 x 88.8 cm
edition of 5
The images in the Quadrilaterals series, 2005, are based on a series of 50.8 x 60.9cm black and white Polaroid images of four-sided shapes, manipulated though the Maya and Photoshop computer programs. In recreating the work in Maya, Welling produced facsimile images of the Polaroid images in vector space.
ink on paper
23.3 x 19.7cm
In her Constructivist period, Antonina Sofranova made an unknown number of variations on a form that can be interpreted as a teapot viewed from the side, top, or bottom. Although this resemblance has not been addressed by her scholars and nothing in her biography confirms it, the shapes of a spout and a handle can be seen in all the variations.
Rest 74, 2013
wood, foam, felt, acrylic paint
36 x 162.5 x 21 cm
Ingrid Furre describes the beginning of the series she titled Rest, the Norwegian word for ‘remnant’, as the finding of tiny pieces of Lego and parts of assembled plastic toys while sweeping the floor of an empty apartment that she was moving in to. The room, she guessed, would have been a small boy’s.
Rest 2-73, 2013
cast soap (lye, fat, pigment, scent)
72 pieces, from 4 x 4 cm to 15 x 20 cm
Rest 75, 2013
wood, cotton, foam, lacquer
21 x 119.5 x 41.5 cm
Rest 76, 2013
wood, found carpet, acrylic paint
23 x 143 x 55 cm
Ten Untitled Conversations, 2004
Ink and pencil on paper, pins
35.5 x 49.9cm
Joseph Grigely has said of himself that for the past 46 years he has been “deaf as a doorpost”. Much of his work up to the mid-2000s was made from all sorts of papers collected from his interlocutors in impromptu written exchanges to which he responded verbally. These were then configured as “narrative grids”, grouped by subject, colour, or as “deliberate polychromes”.
Undated albumen print, blind-stamped R. Rom on bottom right.
13 x 8.3 cm
Unknown personal details