Daniel Faria Gallery is pleased to be participating in
with a presentation of works by
February 24 – 28, 2016
Feria de Madrid
Booth 9G 21
This presentation accentuates each of the artist’s individual approaches to bodily representations, while underscoring their impulses to obscure, contort and possibly disfigure. Spanning a range of diverse media (drawing, film, ephemera, and photography), the artworks belong to figuration while simultaneously departing from it through alternative forms of touch, movement and observation.
Chris Curreri’s work draws attention to the nature of aesthetic experience, suggesting that active effort is required in altering conventional modes of perception. In Curreri’s triptych, Model in the Sculptor’s Studio, (2010), the artist takes the classic subject of the model in the artist’s studio as its starting point, but directs the nude figure to wrap his body over a hollow tube. In one of the panels, the model penetrates the tube with his forearm while in the central panel he folds over the tube, leaving an aperture allowing the viewer to see straight through the body and into the back of the studio.
Häussler’s Klasse 6b (1992/2014) was originally conceptualized and executed in 1992 at the Otto-von Taube High School in Gauting, Germany where twenty-four children’s faces were cast in a sugar substance. Their genders and birth dates were recorded on paper cards and placed on a box corresponding to their cast. The work was then photographed in Häussler’s studio, each one positioned on a steel shelf and lit with fluorescent tubes. The installation had never been exhibited due to an incident in the summer of 1992 when an invasion of ants destroyed the casts. All that was left were sugar remnants, identification cards and empty boxes. Representing personal histories, natural processes and traces of human life, the documents presented in this vitrine pay witness not only to the children, but also to the act of art making itself, which over-time recedes into memory. Indeed, what would have otherwise been a figurative representation of these children is now a faint abstraction, each child reduced to the documentation of ambiguous information.
Mark Lewis is known for his short, silent films. His recent film, Nude, (2014), was born out of the artist’s solo exhibition, filmed and subsequently on view at the Musée du Louvre, Paris, in 2014. Nude features Sleeping Hermaphroditos, a sculpture from Roman antiquity which itself is lying atop a Bernini-carved mattress. Hermaphroditos was the child of Hermes and Aphrodite, one who became transformed into a bi-sexed figure. In this film, Lewis’s camera slowly and erotically circles the nude, forcing the viewer to observe it from multiple angles and seeing its varying characteristics: both its feminine bust and masculine genitalia. This information is only revealed after the camera lens circles and analyzes the figure, revealing Hermaphrodito’s inbetweeness as a surprise, an unexpected crescendo in a deeply atmospheric and gentle film.