• NOV 13 to JAN 12
    Group Exhibition
    Addition to the preceding

    Category

    • Group Exhibition
    • Emerging Artists

    Dates and Opening hours

    NOV 13, 2012 to JAN 12, 2013

    Tuesday to Fryday: 11:00h - 14:00h & 17:00h - 20.30h Saturdays: 11:00h - 14:00h

    Event Location

    Inés Barrenechea

    C/ General Arrando 34. 28010 Madrid
    Madrid
    Spain

    View website

    Artists

    • Agnes Lux
    • Ben Schumacher
    • Claudia Weber
    • Jo-ey Tang

    Information

    The Notary Public presents the works of four New York-based artists for the first time in Madrid, accompanied by pages from Denis Diderot and Jean le Rond d’Alembert’s Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, published between 1751 and 1772. 
     
    It is with a deep glance to the past and a quick stare to the future, or, a quick stare to the past and a deep glance to the future, that the works in the exhibition rub up against the technological, spatial, temporal limits of production. Images become self-generating devices for further image-making. The exhibition halts the production as if in a kind of arrest, prompting the viewers to acknowledge the perceptive blindness lodged in any established systems of knowledge. A small passage in the section “Addition to the Preceding” to another Diderot text, his 1749 “Letter on the blind for those who see”, haunts this exhibition with an anecdote on the shifting subjectivities of the present moment, through which the usefulness and comfort of history could be short-circuited by an early death.
     
    Agnes Lux’s large-scale composites of abstract drawings on pre-made postcards from the United States Postal Service absorb the multiple traces of their transits, sent to the artist’s studio from various sites around the world for final assembly. Postcards that are lost in the mail are replaced by blank ones, closing up the production loop like a perpetual film-strip, a time-space compressor.
       
    Ben Schumacher’s four identical palm-size 3d rapid prototypes of his oil paintings were results of mistakes from a factory in Dongguan, China, who miscommunicated the final scale of the works. Entirely white and made out of Polypropylene, they are kept out of sight of the exhibition space and reside in the wallets of the gallery owner and the other artists in the exhibition, to be seen and touched, upon request and by fate, as they travel to Berlin, Bologna, Düsseldorf, Frankfurt, Kleinostheim, London, Madrid, New York City, Paris, and Poznan.
     
    Jo-ey Tang instigates the form of a skeuomorph (a derivative object retaining an original structure) in the third enactment of The Speaker, a one-minute video of a sound sculpture that contained a 10-hour sound, a digital recording of a single-lens reflex manual camera shutter clicking at 1/60 second, stretched to its technological limits at the time of its making. Prior to its manifestation as a physical object, the sound was first used online as a press release of an exhibition in lieu of a written text.
     
    Claudia Weber’s still life photographs present arrays of raw materials through the filter of a hyperrealistic formalism, thereby emphasizing a tension between product image and object essence. In her new series, "Frequent, Occasional, Rare, Unknown," she collapses the temporality of the exhibition space, the former site of an unlicensed and under-stocked pharmacy, through the representation of medicinal substances for the head, eyes, and heart, organs that suggest the embodied nature of aesthetic response. 
     
    Engravings from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopedia or a Systematic Dictionary of the Sciences, Arts and Crafts), edited by Denis Diderot and Jean le Rond d’Alembert, depict various scenes and tools of production: tobacco, mirror glass, paper fan, and leather belt. Shown only one step in their respective production cycle, they refer back to the exhibition in questioning its own coherence, as well as suggesting the present moment as a kind of necessary limbo.
     
    The Notary Public is a project initiated by Jo-ey Tang in a New York City apartment in 2010, and has also presented exhibitions in Los Angeles and Paris.

    For more information: http://thenotarypublic.tumblr.com/ 

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