To stand amongst the elements and to interpret what one knows

Ryan Gander
January 31 – March 27, 2016

Exhibition view
Outside


Submerged in the grass are proposals for graves for three fictional characters that have recurred in the artist’s work.


Photo © Rik Vannevel

Exhibition view
Outside


Submerged in the grass are proposals for graves for three fictional characters that have recurred in the artist’s work.


Photo © Rik Vannevel

Our Time Is Limited (Proposal For The Grave Of Vivi Enkyo), 2016

Engraved limestone

The character has recurred in Ryan Gander’s work as part of the fictional Fluxus artist group Blue Conceptualists. With the creation of the Blue Conceptualists, he constructs a comprehensive narrative through fragmented viewpoints. 


Photo © Rik Vannevel

Entrance hall of the museum with locked glass doors to the left. The two elevator doors were added, one is permanently closed, the other appears stuck open, as its inside floor is slightly elevated. Through the open passage another room of the exhibition could  be reached. The museum only has a ground floor, so no elevators are needed.


Photo © Rik Vannevel

Two metal doors resembling elevators. One is permanently closed, the other appears stuck open, as its inside floor is slightly elevated. Through the open passage another room of the exhibition could be reached. 


Photo © Rik Vannevel

Closed glass doors with sculptures, paintings and artificial mist. Visitors could not enter the room.

 

The trees are from the series

Consistent And Inconsistent Thinking, 2015

Timber, acrylic paint

The sculptures are made from timber discarded by various art schools, assembled to loosely resemble organic growth. The juxtaposition of “consistent and inconsistent thinking” finds its equivalent in the combination of the conceptual rigor and the seemingly unordered assembly. 

 

Residual Work (Invest in uncertainty), 2015
Fog machine, audio
Artificial mist hovers at about knee height above the ground, sometimes wafting higher and filling the entire space. Hidden speakers play a recording of a child’s voice, which is reciting a spell comprising names of one-armed bandits from casinos. The bodiless fog and sound drifting in the air make for an entirely intangible and ephemeral situation.

 

Bad Language (The Iconography And Abstraction Of Risk Explored), 2015

Bad Language (The Iconography And Abstraction Of Thrill Explored), 2015

Bad Language (The Iconography And Abstraction Of Uncertainty Explored), 2015 

All three works: Acrylic paint on canvas, vinyl 

Paintings with designs constructed from various graphic decals found on caravans. The designs continue from the canvases onto the wall.


Photo © Rik Vannevel

The trees are from the series

Consistent And Inconsistent Thinking, 2015

Timber, acrylic paint

The sculptures are made from timber discarded by various art schools, assembled to loosely resemble organic growth. The juxtaposition of “consistent and inconsistent thinking” finds its equivalent in the combination of the conceptual rigor and the seemingly unordered assembly. 

 

Residual Work (Invest in uncertainty), 2015
Fog machine, audio
Artificial mist hovers at about knee height above the ground, sometimes wafting higher and filling the entire space. Hidden speakers play a recording of a child’s voice, which is reciting a spell comprising names of one-armed bandits from casinos. The bodiless fog and sound drifting in the air make for an entirely intangible and ephemeral situation.

 

Bad Language (The Iconography And Abstraction Of Risk Explored), 2015

Bad Language (The Iconography And Abstraction Of Thrill Explored), 2015

Bad Language (The Iconography And Abstraction Of Uncertainty Explored), 2015 

All three works: Acrylic paint on canvas, vinyl 

Paintings with designs constructed from various graphic decals found on caravans. The designs continue from the canvases onto the wall.


Photo © Rik Vannevel

The trees are from the series

Consistent And Inconsistent Thinking, 2015

Timber, acrylic paint

The sculptures are made from timber discarded by various art schools, assembled to loosely resemble organic growth. The juxtaposition of “consistent and inconsistent thinking” finds its equivalent in the combination of the conceptual rigor and the seemingly unordered assembly. 

 

Residual Work (Invest in uncertainty), 2015
Fog machine, audio
Artificial mist hovers at about knee height above the ground, sometimes wafting higher and filling the entire space. Hidden speakers play a recording of a child’s voice, which is reciting a spell comprising names of one-armed bandits from casinos. The bodiless fog and sound drifting in the air make for an entirely intangible and ephemeral situation.

 

Bad Language (The Iconography And Abstraction Of Risk Explored), 2015

Bad Language (The Iconography And Abstraction Of Thrill Explored), 2015

Bad Language (The Iconography And Abstraction Of Uncertainty Explored), 2015 

All three works: Acrylic paint on canvas, vinyl 

Paintings with designs constructed from various graphic decals found on caravans. The designs continue from the canvases onto the wall.


Photo © Rik Vannevel

The trees are from the series

Consistent And Inconsistent Thinking, 2015

Timber, acrylic paint

The sculptures are made from timber discarded by various art schools, assembled to loosely resemble organic growth. The juxtaposition of “consistent and inconsistent thinking” finds its equivalent in the combination of the conceptual rigor and the seemingly unordered assembly. 

 

Bad Language (The Iconography And Abstraction Of Uncertainty Explored), 2015 (left)

Acrylic paint on canvas, vinyl 

Paintings with designs constructed from various graphic decals found on caravans. The designs continue from the canvases onto the wall.

 

Residual Work (Invest in uncertainty), 2015
Fog machine, audio
Artificial mist hovers at about knee height above the ground, sometimes wafting higher and filling the entire space. Hidden speakers play a recording of a child’s voice, which is reciting a spell comprising names of one-armed bandits from casinos. The bodiless fog and sound drifting in the air make for an entirely intangible and ephemeral situation.


Photo © Rik Vannevel

The trees are from the series

Consistent And Inconsistent Thinking, 2015

Timber, acrylic paint

The sculptures are made from timber discarded by various art schools, assembled to loosely resemble organic growth. The juxtaposition of “consistent and inconsistent thinking” finds its equivalent in the combination of the conceptual rigor and the seemingly unordered assembly. 

 

Residual Work (Invest in uncertainty), 2015
Fog machine, audio
Artificial mist hovers at about knee height above the ground, sometimes wafting higher and filling the entire space. Hidden speakers play a recording of a child’s voice, which is reciting a spell comprising names of one-armed bandits from casinos. The bodiless fog and sound drifting in the air make for an entirely intangible and ephemeral situation.

 

Bad Language (The Iconography And Abstraction Of Risk Explored), 2015

Bad Language (The Iconography And Abstraction Of Thrill Explored), 2015

Bad Language (The Iconography And Abstraction Of Uncertainty Explored), 2015 

All three works: Acrylic paint on canvas, vinyl 

Paintings with designs constructed from various graphic decals found on caravans. The designs continue from the canvases onto the wall.


Photo © Rik Vannevel

The trees are from the series

Consistent And Inconsistent Thinking, 2015

Timber, acrylic paint

The sculptures are made from timber discarded by various art schools, assembled to loosely resemble organic growth. The juxtaposition of “consistent and inconsistent thinking” finds its equivalent in the combination of the conceptual rigor and the seemingly unordered assembly. 

 

Bad Language (The Iconography And Abstraction Of Risk Explored), 2015

Bad Language (The Iconography And Abstraction Of Thrill Explored), 2015 (detail)

Both works: Acrylic paint on canvas, vinyl 

Paintings with designs constructed from various graphic decals found on caravans. The designs continue from the canvases onto the wall.

 

Residual Work (Invest in uncertainty), 2015
Fog machine, audio
Artificial mist hovers at about knee height above the ground, sometimes wafting higher and filling the entire space. Hidden speakers play a recording of a child’s voice, which is reciting a spell comprising names of one-armed bandits from casinos. The bodiless fog and sound drifting in the air make for an entirely intangible and ephemeral situation.


Photo © Rik Vannevel

Three works from the series

I is..., 2013

All works: marble resin

The sculptures are based on shelters ostensibly built by the artist's small daughter by covering mundane objects and furnishings with sheets to create a play den and/or fantasy space. 

 

Toodaloo Vantongerloo (Of Friends And Rivals), 2016 (right)

Architectural intervention

A shape based on a sculpture by the Belgian sculptor Georges Vantongerloo was cut into the glass. The white inflatable sculpture in the courtyard refers to this shape, as if the sculpture had “escaped” through the glass into the outside and there expanded in size. 


Photo © Rik Vannevel

Lost In Their Own Recursive Narrative, 2015

Performance

A performer carries out a sequence of small inconspicuous actions, based on precise instructions by the artist. The actions are so discreet that they may go unnoticed – only their repetition in identical loops reveals the choreographed circuit behind them.


Photo © Rik Vannevel

Lost In Their Own Recursive Narrative, 2015

Performance

A performer carries out a sequence of small inconspicuous actions, based on precise instructions by the artist. The actions are so discreet that they may go unnoticed – only their repetition in identical loops reveals the choreographed circuit behind them.


Photo © Rik Vannevel

Mr Gander, My Fickle Friend, 2016

Digital print on newsprint

This work with fifteen pencil illustrations of residential houses in Deurle is a direct reference to modernist artist Marcel Broodthaers and his lithograph Les animaux de la ferme (1974). Under the drawings is a series of ideas to investigate by the artist. As if caught during the installation, the work leans against the wall with already affixed picture rails above.  


Photo © Rik Vannevel

Mr Gander, My Fickle Friend, 2016 (left)

Digital print on newsprint

This work with fifteen pencil illustrations of residential houses in Deurle is a direct reference to modernist artist Marcel Broodthaers and his lithograph Les animaux de la ferme (1974). Under the drawings is a series of ideas to investigate by the artist. As if caught during the installation, the work leans against the wall with already affixed picture rails above.  

 

The main entrance to this room was closed for the duration of the exhibition. On this wall, another small entrance door to the room was created. 


Photo © Rik Vannevel

Mr Gander, It's A Rather Fluffy Story, 2015

Digital print on newsprint

This work with twelve pencil illustrations of bird's eye topographic renderings depicting places that the artist has been to is a direct reference to modernist artist Marcel Broodthaers and his lithograph Les animaux de la ferme (1974). Under the drawings is a series of ideas to investigate by the artist. As if caught during the installation, the work leans against the wall with already affixed picture rails above.  

 

The main entrance to this room (visible in the back of this image) was closed for the duration of the exhibition. On its side, a narrow door was cut. On the left wall, another small entrance door to the room was created. 

 

Photo © Rik Vannevel

Mr Gander, It's A Rather Fluffy Story, 2015

Digital print on newsprint

This work with twelve pencil illustrations of bird's eye topographic renderings depicting places that the artist has been to is a direct reference to modernist artist Marcel Broodthaers and his lithograph Les animaux de la ferme (1974). Under the drawings is a series of ideas to investigate by the artist. As if caught during the installation, the work leans against the wall with already affixed picture rails above.  

 

The main entrance to this room was closed for the duration of the exhibition. On this wall, another small entrance door to the room was created. 


Photo © Rik Vannevel

Exhibition view

To stand amongst the elements and to interpret what one knows, 2016
Museum Dhondt-Dhaenens, Deurle


Photo © Rik Vannevel

I be... (ii), 2015

Antique mirror, marble resin

The mirror appears to be covered with a white sheet, which in fact consists of marble resin, thus permanently veiling the mirrored surface, impeding the spectators’ curiosity and vanity.


Photo © Rik Vannevel

I be... (ii), 2015 (right)

Antique mirror, marble resin

The mirror appears to be covered with a white sheet, which in fact consists of marble resin, thus permanently veiling the mirrored surface, impeding the spectators’ curiosity and vanity.

 

The main entrance to this room (visible in the back of this image) was closed for the duration of the exhibition. On its side, a narrow door was cut. On a different wall, another small entrance door to the room was created. 


Photo © Rik Vannevel

Mr Gander, It's A Rather Fluffy Story, 2015 (left)

Digital print on newsprint

This work with twelve pencil illustrations of bird's eye topographic renderings depicting places that the artist has been to is a direct reference to modernist artist Marcel Broodthaers and his lithograph Les animaux de la ferme (1974). Under the drawings is a series of ideas to investigate by the artist. As if caught during the installation, the work leans against the wall with already affixed picture rails above.  

 

I be... (ii), 2015 (right)

Antique mirror, marble resin

The mirror appears to be covered with a white sheet, which in fact consists of marble resin, thus permanently veiling the mirrored surface, impeding the spectators’ curiosity and vanity.

 

The main entrance to this room (visible in the back of this image) was closed for the duration of the exhibition. On its side, a narrow door was cut. On the left wall, another small entrance door to the room was created. 


Photo © Rik Vannevel

To stand amongst the elements and to interpret what one knows

Ryan Gander
Museum Dhondt-Dhaenens, Deurle
January 31 – March 27, 2016
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To stand amongst the elements and to interpret what one knows is the first overview exhibition in Belgium of the work of British artist Ryan Gander (born 1976). In this exhibition, the various aspects of his multifaceted oeuvre can be discovered. His work can take the form of an action, a sculpture, an installation, but also a thought, a promise or an encounter. Ryan Gander likes to play with absurd logic and surprising insights about himself and his surrounding environment. Nothing is what you think you know, and all his works resemble puzzle pieces of which it may be feared that ultimately they will never fit perfectly together.

 

His imagination and mental leaps take many directions and are difficult to grasp in a specific and recognizable style or shape. The common thread in the work of Ryan Gander is the sincere generosity toward the viewer: Gander provokes us again and again to let go of our ingrained expectations and to let our imagination work to further develop the storylines he puts forward. Hence an exhibition by Ryan Gander requires great attention to detail. Not everyone can always fathom everything, but everyone will recognize different elements and give them meaning.

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