Saturday, September 16 - Saturday, October 28, 2017
Friday, September 15, 6:00 – 9:00pm
Daniel Faria Gallery is pleased to announce its temporary outpost in Berlin, opening this Fall.
The gallery is moving into PSM Gallery on Köpenicker Strasse in Kreuzberg for the months of September and October, as PSM Gallery inaugurates its new space on Schöneberger Ufer (opening Friday September 8, 2017). Daniel Faria Gallery will present Unruly Matter an exhibition of new and recent works by Chris Curreri as well as an intimate presentation of Bed Island works by Nadia Belerique.
Berlin Gallery Opening Friday September 15, 6-9pm
Kreuzberg Galleries Brunch Saturday September 16, 11am – 2pm
Exhibition continues until Saturday October 28, 2017
“When is a mouth an asshole? How do we know when something ends and something else begins?
Traditional darkroom photography, like clay, requires fixing a material that is otherwise inherently malleable. A moment in time, destined to be lost forever, is decisively arrested on the negative by the action of the shutter. This capture of fleeting appearance accounts for photography’s indexical nature, its eternal betrothal to the Real.
Photographic images are inconceivable without this process of capture. As photographs, Chris Curreri’s Kiss Portfolio partakes in this process of capturing a real event in time – the act of two men kissing for the camera. But for the viewer encountering the work, something else happens that unfixes what was previously arrested with such perfection.
In the Kiss photographs, the viewer is tempted first of all to see ‘an asshole’ or ‘a vagina’ prior to seeing two mouths kissing. The images, in other words, unhinge themselves from photography’s connection to the Real, and assume for themselves an unexpected autonomy. In art-historical terms, we might describe this experience of unhinging as the artwork’s Surrealist quality. Curreri refers to this as the work’s Unruliness – its resistance to fixedness and, simultaneously, its movement towards a renewed sense of instability.
Curreri’s series of sculptures, titled Sixes and Sevens, is the product of the forceful encounter between clay pots resulting in forms reminiscent of distended balloons, flabby corpulence and proud protrusions. They have been glazed to mimic the look of clay prior to hardening in the kiln, gesturing towards a state of unruly formlessness which they refuse to give up.”
Chris Curreri lives and works in Toronto. Curreri holds a BFA from Ryerson University and an MFA from the Milton Avery Graduate School for the Arts at Bard College. Recent exhibitions include So Be It at the Gardiner Museum (Toronto), We Are Safe And All Is Well In Our World at Scrap Metal (Toronto) curated by Rui Mateus Amaral, Surplus Authors at Witte de With (Rotterdam), Compassionate Protocols at Callicoon Fine Arts (New York), the 2016 Montreal Biennale, (Montréal) curated by Philippe Pirotte, and the Central China International Ceramics Biennale, Henan Museum, (Zhengzhou). Curreri was shortlisted for the 2014 Sobey Art Award. His works can be found in the collections of Hart House at the University of Toronto, the Agnes Etherington Art Centre, the Art Gallery of Ontario, the National Gallery of Canada and numerous private collections.
Sand, dirt, dust, skin, shaken through its body
The view from the mattress.
Long sigh, closed eye, the long glint blurs the purple dark
-Tiziana La Melia, The Eyelash and the Monochrome
“Bed Island suggests an analogy between intimate psychological space and the artwork’s construction. With the psychological space of the bed you get vulnerability and autonomy intermingled — sleep, dreams, sex, moments of repose, and bouts of depression. The idea of “bed” connects these things, along with its defining condition of being horizontal. You can fall into bed, but can you fall into an image? The photos are composed with layers of photographs and objects — an image of wood grain, for instance, or scans of a broken pane of glass, combined with bottles or shoes, sawdust or a cup, a roll of film, a metal candle holder that looks like a flower, or cut outs from other images. The combinations create inversions of positive and negative space.
“Confusion about how figure and ground relate in the images comes from the layering of elements that are opaque or translucent, or in the contrast between fuzzy and sharp. That the artist was lying down with the camera, shooting up through a frosted pane of glass when making each exposure, further confuses things. Hung vertically on the wall, viewers experience a small destabilization.
“Lurking in this show is a distillation of a psychological state: of coming to people and things in the world. Bed Island is self-awareness as a process. A kind of intimacy that submerges and surfaces for just moments at a time.”
Belerique received her BFA from York University, Toronto and her MFA from the University of Guelph. Recent solo exhibitions include Bed Island, Have You Seen This Man, and (In Order of Appearance) at Daniel Faria Gallery, Toronto. She has been included in numerous group shows including are you experienced?, Art Gallery of Hamilton, Hamilton, Ontario; Blue Times, Kunsthalle Wein, Vienna; The Mouth Holds the Tounge, The Power Plant, Toronto; and —, Tomorrow Gallery, New York. Belerique’s work has also been included in the 2016 Montreal Biennale and 2016 Gwangju Biennale, South Korea.
For more information contact Dory Smith at:
email@example.com or 416 538 1880
Daniel Faria Gallery
188 St Helens Avenue
Toronto, ON M6H 4A1
416 538 1880