The Connectivity Suite (And Other Places)

Ryan Gander
June 3 – August 27, 2016

Elevator to Culturefield, 2016 (left)

Elevator door, bronze resin

The work consists of ornate scale elevator doors with a golden metal sculptural relief on their surface that illustrates a classical building structure emerging through the clouds. Set seamlessly into the wall, the elevator appears deceptively functional.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

The Day To Day Accumulation Of Hope, Failure And Ecstasy - Better A Productive Failure Than An Unproductive Success (The Fairfield International), 2016

Bronze

The sculpture is an enlarged version of a brass keychain. Attached to the ring is the model of a fictional work made by the artist in a para-possible lifetime. This keychain relates to the unrealized project for a private art school instigated by the artist – The Fairfield International.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Elevator to Culturefield, 2016 (center)

Elevator door, bronze resin

The work consists of ornate scale elevator doors with a golden metal sculptural relief on their surface that illustrates a classical building structure emerging through the clouds. Set seamlessly into the wall, the elevator appears deceptively functional.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Elevator to Culturefield, 2016 (center)

Elevator door, bronze resin

The work consists of ornate scale elevator doors with a golden metal sculptural relief on their surface that illustrates a classical building structure emerging through the clouds. Set seamlessly into the wall, the elevator appears deceptively functional.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Elevator to Culturefield, 2016 (right)

Elevator door, bronze resin

The work consists of ornate scale elevator doors with a golden metal sculptural relief on their surface that illustrates a classical building structure emerging through the clouds. Set seamlessly into the wall, the elevator appears deceptively functional.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

The Connectivity Suite, 2016 (center)

Lightbox

The work is modeled on the style of business directory signage found in the foyers of office buildings. Instead of corporations and suite numbers, the large backlit panel lists ideas, notes, themes and subjects from the artist's notebook which relate to the research and development of new artworks.

 

Other Places, 2016 (corner)

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

The Connectivity Suite, 2016 (center)

Lightbox

The work is modeled on the style of business directory signage found in the foyers of office buildings. Instead of corporations and suite numbers, the large backlit panel lists ideas, notes, themes and subjects from the artist's notebook which relate to the research and development of new artworks.

 

Other Places, 2016 (corner)

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

The Connectivity Suite, 2016 (left)

Lightbox

The work is modeled on the style of business directory signage found in the foyers of office buildings. Instead of corporations and suite numbers, the large backlit panel lists ideas, notes, themes and subjects from the artist's notebook which relate to the research and development of new artworks.

 

Other Places, 2016 (corner)

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

The Connectivity Suite, 2016 (left)

Lightbox

The work is modeled on the style of business directory signage found in the foyers of office buildings. Instead of corporations and suite numbers, the large backlit panel lists ideas, notes, themes and subjects from the artist's notebook which relate to the research and development of new artworks.

 

Other Places, 2016 (corner)

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Other Places, 2016 (on the floor)

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Other Places, 2016

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Other Places, 2016

Marble resin

A cast of a pair of cut off denim shorts placed over a pair of sheepskin Ugg boots, as if the user has only just stepped out of their clothing in a hurry, rendered in marble and positioned facing a wall. Gander contrasts the common association of marble as permanent and the medium of classical sculpture with the evocation of ephemeral moments from everyday life. 

 

Photo © Andrea Rossetti

We never had a lot of £ around here, 2016 (on the floor)

Nickel-brass coin, glue

The fictitious coin seems to have fallen out of the future, 2180 to be exact, comprising some possible descriptors of the time. The coin is glued to the floor, value side up.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

We never had a lot of £ around here, 2016 (on the floor)

Nickel-brass coin, glue

The fictitious coin seems to have fallen out of the future, 2180 to be exact, comprising some possible descriptors of the time. The coin is glued to the floor, value side up.

 

General Studies, 2016 (detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

The Day To Day Accumulation Of Hope, Failure And Ecstasy - Better A Productive Failure Than An Unproductive Success (The Fairfield International), 2016

Bronze

The sculpture is an enlarged version of a brass keychain. Attached to the ring is the model of a fictional work made by the artist in a para-possible lifetime. This keychain relates to the unrealized project for a private art school instigated by the artist – The Fairfield International.

 

Photo © Andrea Rossetti

The Day To Day Accumulation Of Hope, Failure And Ecstasy - Better A Productive Failure Than An Unproductive Success (The Fairfield International), 2016

Bronze

The sculpture is an enlarged version of a brass keychain. Attached to the ring is the model of a fictional work made by the artist in a para-possible lifetime. This keychain relates to the unrealized project for a private art school instigated by the artist – The Fairfield International.

 

Photo © Andrea Rossetti

The Day To Day Accumulation Of Hope, Failure And Ecstasy - Better A Productive Failure Than An Unproductive Success (The Fairfield International), 2016 (right)

Bronze

The sculpture is an enlarged version of a brass keychain. Attached to the ring is the model of a fictional work made by the artist in a para-possible lifetime. This keychain relates to the unrealized project for a private art school instigated by the artist – The Fairfield International.

 

Echo from Culturefield, 2016 (center)

Wall plugs and dust

The work consists of marks from fixtures, light faded outlines and dust set high up on a wall, visible after the removal of a sign. The marks spell out Culturefield in Hardy Har Har typeface.

 

General Studies, 2016 (left; detail)

Curtain, grilled vent

The walls in one room are covered with a thin pleated curtain. Ryan Gander's subtle, elusive works encourage observers to explore new spaces and, in the process, confront the multiple ambiguities of what may constitute a work of art. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement.

 

Photo © Andrea Rossetti

Echo from Culturefield, 2016 

Wall plugs and dust

The work consists of marks from fixtures, light faded outlines and dust set high up on a wall, visible after the removal of a sign. The marks spell out Culturefield in Hardy Har Har typeface.

 

Photo © Andrea Rossetti

Portrait of a colour blind artist obscured by flowers, 2016 

HD video (color, stereo sound)

Duration 13:09 min

The film appears to depict the artist working in his studio, promising insight into Gander's creative processes but continuously frustrating the viewer's curious gaze as the protagonist's face is artfully obstructed in each shot by vases of flowers. 

 

Photo © Andrea Rossetti

Portrait of a colour blind artist obscured by flowers, 2016 

HD video (color, stereo sound)

Duration 13:09 min

The film appears to depict the artist working in his studio, promising insight into Gander's creative processes but continuously frustrating the viewer's curious gaze as the protagonist's face is artfully obstructed in each shot by vases of flowers. 

 

Photo © Andrea Rossetti

The Connectivity Suite (And Other Places)

Ryan Gander
June 3 – August 27, 2016
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Esther Schipper is pleased to present Ryan Gander’s first solo exhibition with the gallery, The Connectivity Suite (and other places), following his 2011 presentation with Johnen Galerie. The Connectivity Suite (and other places) will feature all new works, including an architectural intervention, a film, sculptures, a performance, and a scent.

 

The material, formal and stylistic variety of Ryan Gander’s practice is unified both by his conceptual vision and by recurring themes concerning creativity, the nature of art and the life of the artist. His oeuvre evokes fictional spaces, referring to absent objects, art works or persons, both real and imaginary. The suggestions of missing items, indicated by names or traces, act as witty, lyrical evocations of the power of imagination. Gander often focuses his attention on the playfulness and imagination of children, who are less encumbered by facts and appearances than adults. His subtle, elusive works encourage observers to explore new spaces (sometimes deliberately hidden or inaccessible) and, in the process, confront the multiple ambiguities of what may constitute a work of art.

 

A case in point is Gander’s best known—but largely invisible—work for dOCUMENTA (13), I Need Some Meaning I Can Memorise (The Invisible Pull) (2012), described by the artist as “a gentle breeze pulling the spectator through the gallery space.” To create this subtle yet spectacular work, Gander devised a hidden, complex alteration to the air circulation system of the room. In Karlsaue Park, Gander’s Escape hatch to Culturefield mimicked an easily overlooked municipal drain, alluding to the artist’s vision for an imaginary place perfectly suited for research and artistic production.

 

The Connectivity Suite (and other places) continues Gander’s investigation of the nature of creativity. The walls in one room of the gallery are covered with a thin pleated curtain. Alluding to the presence of an unseen space, a strong current from a large air vent causes a section of the curtain to billow in constant movement. Lending the exhibition its title, The Connectivity Suite, 2016 is modeled on the style of business directory signage found in the foyers of office buildings. Instead of corporations and suite numbers, Gander’s large backlit panel lists ideas, notes, themes and subjects from the artist’s notebook which relate to the research and development of new art works. The second part of the exhibition’s title derives from a new marble sculpture entitled Other Places—a pair of UGG boots and denim cutoffs, discarded by an unknown visitor. Gander’s idealized creative site “Culturefield ” appears in Elevator to Culturefield, ornate scale elevator doors with a golden metal sculptural relief on their surface that illustrates a classical building structure emerging through the clouds—a reference to Gander’s unrealized project for a private art school. Set seamlessly into the wall, the elevator appears deceptively functional.

 

A new film entitled A portrait of a colour blind artist obscured by flowers will be presented in the adjoining room. The film appears to depict the artist working in his studio. Similar to The Connectivity Suite, the film promises insight into Gander’s creative processes but continuously frustrates the viewer’s curious gaze as the protagonist’s face is artfully obstructed in each shot by vases of flowers. Two works referring to idealized fictional places of creation are exhibited alongside: Echo from Culturefield, traces apparently left by a gallery sign, and The Day To Day Accumulation Of Hope, Failure And Ecstasy — Better A Productive Failure Than An Unproductive Success (The Fairfield International), another sculpture that refers to Gander’s project for a private art school.

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