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Technicolour Yawn

 
Technicolour Yawn

event site and dates

Gridchinhall
25 september 2011 — 23 october 2011

Opening: 24 September 16:00 - 21:00

Curator: Nadim Samman

Organizer:
Barbarian Art Gallery by Natasha Akhmerova, Zurich
www.barbarian-art.com

Artists:

  • Ryan Trecartin
  • Shana Moulton
  • James Howard
  • Steve Bishop


A special project of the 4th Moscow Biennale, Technicolour Yawn features work by three of the most exciting and celebrated young artists working in the UK and US today.

The title ‘Technicolour Yawn’ sets the (multicoloured) tone for a group exhibition featuring some of the most exciting young artists working in the United States of America and United Kingdom today. Most obviously, the term links sensorial overload (associated with technologies of representation) to boredom. However, beyond this well-known relationship it also highlights the themes of compulsion and distaste – as ‘techinicolour yawn’ is a euphemistic expression for a forceful bout of projectile vomit.

This axis of excess, indifference and convulsive (self)exposure is an all-pervasive feature of our contemporary culture. To better reflect this fact the exhibition galleries will be overstuffed with images and sounds. None of the works in the show will be displayed according to the logic of the ‘white cube’ – where each piece is given its own discrete, neutral space. Instead, they will be presented as a cacophony. The effect on the viewer will be overwhelming and disorientating, like immersion in a deluge. This curatorial strategy is also inspired by the works themselves, which invoke incessant pseudo communication and the theme of questionable self-revelation. Within their various media, profusion of visual and aural ‘noise’ is the surface rule and the possibility of an exclusive inner space/life is unsettled. 

The core of the show is a series of films by Ryan Trecartin (b. 1981). This celebrated young American artist writes, directs and stars in unorthodox low-budget epics for the YouTube generation, in which fragmentary narratives move at hyperspeed with all the non-subtlety of viral videos, multi-screen instant messaging and the laughter of wannabe reality stars. The recent recipient of the New Artist of the Year Award, presented at the Guggenheim Museum, and the Jack Wolgin International Prize in the Fine Arts, awarded by Temple University in Philadelphia, Trecartin has had a solo show at the Hammer Museum in Los Angeles and is currently preparing for another at the Museum of Modern Art (MoMA) in New York.

Shana Moulton’s (b. 1976) installation and performance practice begins with her fictional alter-ego, Cynthia, a hypochondriac housewife fixated upon miracle cures, tv-shopping products and New Age rituals. Although Cynthia believes in the unity of the universe, she lives in a social vacuum. Nevertheless, the sculptural setting in which the videos are presented involve the viewer in her vision. For a brief moment the audience partakes of her low-tech Pop fantasy life in which objects and consumer products are at once banal and uncanny.

James Howard (b. 1981) is fascinated with spam emails whose intent is fraudulent or which attempt to sell questionable consumer products. A student of internet scam strategies and an aficionado of the low-grade communication often associated with them, his recent work samples texts and images hijacked from real emails in his junk folder.  The resulting collages are displayed as posters and screen grabs. The effect is a litany of enticement, preying on our perceived insecurities, and a garish portrait of the background/marginal commercial communication of our day.

Nadim Samman









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