13 apr.— 15 apr. 2018
April 13 – April 15, 2018
PERSPECTIVE ON ECOLOGICAL ABSTRACTION
ANNE DE BOER
CHRISTOPHER KULENDRAN THOMAS
We are no longer able to think history as exhaustively human. To those great Victorian period discoveries – evolution, capital, the unconscious – we must now add spacetime, ecological interconnection, and nonlocality.
– Timothy Morton, Hyperorbjects: Philosophy and Ecology after the End of the World (Minnesota, 2013)
For its first participation at miart, Galerie Antoine Ertaskiran is proud to present recent works by emergent and established artists Julia Dault, Anne de Boer, Andrea Sala and Christopher Kulendran Thomas. The artworks presented for the occasion articulate multiple perspectives on abstraction in an era of planetary-scale ecological entanglement.
By devising expressive gestures through rules and reasoning indicative of Post-Minimal and Conceptual art, Julia Dault (b. 1977, Canada) is part of a generation of artists invigorating abstract painting today. At the intersection of the handmade and the industrial, the expressive and the mechanical, Dault’s gestural abstractions fuse across shifting binaries of strategy and incident. She explores notions of artistic labor, often through constraining, repeating, or mechanically producing her hand’s gestures, which is achieved in part through her use of non-traditional tools and supports.
Framing the entire booth, Anne de Boer (b. 1987, Netherland) immersive installation actively harvest and display content generated online and offline throughout the duration of the fair. Featuring a cast of algorithmically improvised characters, both the online and physical parts of the work simultaneously host and generate ever new assemblages from a social space that is undeniably present and yet dispersed.
Andrea Sala (b. 1976, Italy) imagines new environments and worlds by mixing present and future images, oscillating between reality, fiction and imagination. he gives special attention to the forms of design and architecture, questioning the materials that constitute them and their formal values. Taking his inspiration from design objects, Andrea Sala appropriates and transforms already existing forms, finding new potentialities and reshaping them into new aspects and contexts.
Manipulating a particular regional art market, Christopher Kulendran Thomas (b. 1979, London) work reconfigures original artworks that he purchases. Abstracting the aesthetics of self-expression through distributed networks of memetic circulation, Thomas addresses the gap between his family’s origins and his current context, bringing into relief the global contours of power by which identity itself may be negotiated. With a personal attention to the ensuing economic liberalization of Sri Lanka that occurred at the end of a violent 30-year civil war, he explores the territorializing tendencies of this economic order and its means of recuperating images and capital into its fortified domain.