Cabinet d’Amateur at Kingston Art Group Gallery, Kingston-upon-Hull (UK)
Kingston Art Group is pleased to present Cabinet d’Amateur, a solo exhibition by Andrew Robert Hodgson for the KAG Hoc space on Humber Street, Hull.
The phrase ‘cabinet d’amateur’, in French, is archaic. It refers to a collector; a ‘lover of objects’ from the 18th century, pre-public galleries (Hull’s older schools, assumedly, still own these; Hull’s museums developed from these). A curiosity cabinet; a room lined from floor to ceiling with paintings and objects collected. When read as if in English, it evokes not a ‘lover’ of something, but something illegitimate, out of place, ‘amateur’. It is a duality from which this installation draws meaning. It is a collection of authentic works, forgeries and copies collected by varied means. These objects were gifted by the widows of long dead Parisian surrealists, with their fading memories of provenance; collected from the greyer side of Ebay, and dollar bins. Akin the cabinet d’amateur of the Georges Perec novel of the same name it is a fictive construct, or is it?
For this exhibition Hodgson opens a space to explore the interactions of viewer, object and context within the gallery environment. In doing so, he problematises the relation of truth to the empirical. The installation raises questions regarding the relation of artistic expression > object aesthetic > viewer reception. No distinction is made between that which is ‘authentic’, and that which is ‘forged’. In this space, these labels are difficult to clearly ascribe; ‘authenticity’ becomes an open value. As such, this installation explores the power in the interrelation of object and text; context. Each object is accompanied by its descriptive card mimetic of the owner guiding their guests vocally through the cabinet. Just as the owner would point out pieces around the room and describe them by a varied scale of context (supposed creation context, apparent historical context, context of appropriation, context of the fallible human (lies and memory)). Thus, the objects’ facticity becomes reliant on layers of re-presentation. At what layer of presentation does the context itself perhaps overpower the object, or fall apart in anecdote? Raised is a crisis of authenticity of both object, and context, both of which must be considered, accepted or rejected. Indeed, in the cabinet d’amateur, what here is ‘real’, and what is ‘false’? Does the aesthetic communication, or artistic meaning of the object emanate from the object itself, its narration, or the room? And where within this ambiguity does the viewer reside? Where in the interaction of viewer with object and narrative does this ‘authenticity’ become? Upon entering the cabinet, these are questions the viewer is confronted with and perhaps overwhelmed by.
A Visitor in the Night at 9800 S. Sepulveda, Los Angeles (US)
October 29 – November 15, 2015
9800 transforms the entirety of the vacant, historically emblematic 9800 S. Sepulveda building into a generative space of multiple exhibitions and events, all of which take the particular location as their orienting force, their impetus. The show, massive in scale, is neither a biennial, symposium nor performance space, but somewhere in between, perhaps more in the realm of the experimental, temperamental, fleeting, emerging.
Six curators, each occupying a different floor of the building, will present the work of nearly 100 artists from over 15 countries, many works having been created specifically for this exhibition. Each curator has been tasked with maintaining a sensitivity to the (past) functions of the building, to consider the site not only at a contextual, historical or microscopic level, but also through a rich and dense scale of connectivity. By way of various means, material, layers, or strata, constellations of ideas and levels of enframement, the goal at hand has been to create a heterogeneous set of discourses activated by this particular site, all of which bear witness to the question of how can we experiment with or theorize different rates of connectivity on different chronological scales, in different parts of the world, all the while informed by a conception of the global in terms of its unevenness and ungraspability.
Curated by Pierre-Alexandre Mateos and Charles Teyssou (4th Floor)
Reading the building as a playful labyrinth, Pierre-Alexandre Mateos and Charles Teyssou asked each of their invited artists to create an invention, game, experiment, instruction, or non-classified activity invoking the mental labyrinths meticulously built by writers such as Raymond Roussel, Georges Perec or Jorge Luis Borges and by Jacques Tati in his 1967 film, Playtime.
Artists: Anna-Sophie Berger, Body by Body, Francisco Cordero, Oceguera Adam Cruces, Kate Durbin, Oscar Enberg, Olivia Erlanger, Cédric Fargues, Louisa Gagliard, Andrew Robert Hodgson, item idem, Nik Jaffe & Luke Frith,-powell, Mattew Linde, Sam Lipp, Tobias Madison, Emanuele Marcucci, Luis Miguel Bendana, Joseph Mosconi, Mohamed Namou, Christian Odlham, Sarah Ortmeyer, Lydia Ourahmane, Emilie Pitoiset, Puppies Puppies, Phillip Reitsam, Martin Reynolds, Halvor Ronning, Fabio Santacroce, Anna Solal, Jasper Spicero, Sstmrt, Philipp Timischl & Min Yoon Sinae, Yoo Seyoung Yoon