A Story in Three Acts by Andrew Hodgson 23H03, 29/03/2023, at Le Grand Show, Glassbox, Paris, May 2023
‘On the Visual Poetics of Kinetic Prosody: Stasis and Motion in the Narrative Walls of Philipp Timischl,’ in Philipp Timischl’s yes i’m an academic, how could you tell?, January 2023
Managing Editor for art catalogue with Sini Rinne-Kanto: A I S T I T – coming to our senses, Finnish Cultural Institutes in France, Benelux, UK, Germany, and Finland, for Helsinki Festival, 2021
Audio-visual work for Humber Mouth – Hull Literature Festival
PRAXIS at Haus Wien, Vienna
Wallpaper and recording.
Andrew Hodgson with Derek Beaulieu, Guy Bennett, Kimberly Campanello, Spencer Campbell, Shane Jesse Christmass, Chris Clarke, Emily Critchley, James Goodwin, Bhanu Kapil, Jake Kennedy, Robert Kiely, Kevin McPherson Eckhoff, Sawako Nakayasu, Vanessa Onwuemezi, Outranspo, Imogen Reid, Shola von Reynolds, Rosie Šnajdr, Isabel Waidner, Joanna Walsh and Eley Williams
The installation PRAXIS is an aesthetic development of a book project entitled Experimental Praxis that will be published by Dostoyevsky Wannabe in 2021. The book includes work by 22 international contributors, ranging from text art and concrete poetry, to spatial poetry and experimental prose. PRAXIS interrogates the ways in which an audience engages with the illusory realities of language, and how that is guided by textual, and physical, movement. It centers abstractions, or minimalizations of coherent narrative structure. It works to deconstruct the book object, and reformulate its contents into new interactions with the curated space of language art. Made up of walls and sound, the engagements with narrative, language and story are joined by the audience by chance and circumstance. They enter and leave the room at whatever point within the room’s narrative arcs that they might, they approach the text on the walls in whichever ordering is dictated by their movement around the room, and the placement of text. In doing so the curated group work of the book object becomes a series of recalibrated interactions, that resists the linear impulse driven by bound paper. The audience interaction with language is transposed from the isolated internal readerly voice, to bodily movement, the aural, and group dynamic. Consisting of printed paper on walls, and a looped recording, PRAXIS explodes the book object, and reconstitutes writerly and readerly poetics as a series of physicalized engagements.
Confinement. in 3:AM Magazine
Video work in collaboration with Temmuz Süreyya Gürbüz
Still Life at A Table for 50, GaleriePCP, Paris (France)
Directed by: Philipp Timischl, Gina Folly
Written by: Adam Cruces & Louisa Gagliardi, Agathe Zaerpour, Ali Hasanzadeh, Amalie Eybie Brandt, Anna Solal, Andrew Hodgson, Anina Troesch,Anna-Sophie Berger, Benjamin Hirte, Cecilia Bengolea, Clement Delpine, Daphne Ahlers, Edin Zenun, Edouard Montassut, Elodie Cazes,Emanuel Layr, Emilie Pitoiset, Evelyn Plaschg, Florian Pfaffenberger, Gina Folly, Gregory Sugnaux, Guiles Jacot, Guillaume Denervaud, Hannah Weinberger,Henning Strassburger, Ida Thorrud, Ivan Perard, Jon Rafman, Judith Kakon, Julian Göthe,Julie Boukobza, Kevin Blinderman – masternantes, Laurence Sturla,Lilli Thieben,Ludovica Parenti, Mads Westrup, Malak Varichon El Zanaty, Marielle Chabal, Marina Faust, Marina Sula, Martyn Reynolds, Maude Rose Reynolds, Matthew Billings, Mathias Renner, Michèle Graf & Selina Grüter, Miriam Laura Leonardi, Mona Varichon, Nicolas Nahab, Nhu Duong & Octave Peraultt, One Star Press, Patricio Lima, Patrick Julien, Peter Cybulski, Philipp Timischl, PierreAlexandre Mateos & Charles Teyssou, Rasmus Myrup, Ruiz Stephinson, Goswell Road, Signe Rose, Solomon Rose Reynolds, Thomas Jeppe, Tobias Kaspar, Tobias Spichtig, Victor Lizana, Will Benedict.
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.
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