Adam Pendleton presents new work at Galerie Eva Presenhuber

The First Art Newspaper on the Net    Established in 1996 Monday, June 24, 2024

Adam Pendleton presents new work at Galerie Eva Presenhuber
Installation view, Adam Pendleton, Adam Pendleton: Toy Soldier, Galerie Eva Presenhuber, Maag Areal, Zurich, 2022.

ZURICH.- Galerie Eva Presenhuber is presenting Adam Pendleton: Toy Soldier, the artist’s second solo exhibition with the gallery. Featuring new work, including three paintings, five collages, and a video, the exhibition is on view concurrently with Adam Pendleton: In Abstraction at Pace Gallery, Geneva. Together the two exhibitions speak to the range of his practice.

Adam Pendleton: Toy Soldier, installed in three black-box spaces, integrates multiple ongoing flows of writing and reading. In a new set of small collages, Pendleton combines geometric forms—circles and triangles—with metallic sprays, drips, and other shapes, conducting an improvisatory play of shadow and muted light. Opaque black cut- outs dance across the foreground of each work. Spray-painted gestures, here rendered in silver and obscured to near illegibility, create a through line with the spray-painted text of the Untitled (WE ARE NOT) paintings, in which a single phrase, “WE ARE NOT”, explodes into fields of combinatory language, filtered and modulated by overlapping lines that form ovals, triangles, and quadrilaterals.

Toy Soldier (Notes on Robert E. Lee, Richmond, Virginia/Strobe) (2021–22), the video work at the center of the exhibition, performs both a close reading and a transformation of its subject, a 19th-century equestrian statue of Confederate general Robert E. Lee that stood from 1890 to 2021 in Richmond, Virginia, USA. Spotlights move at various speeds across the statue and its graffiti-covered plinth, extracting sections of text—almost in counterpoint with the black shapes that pass over the grounds of the collages. The Untitled (WE ARE NOT) paintings reveal and obscure their own text, with overprinted whites and blacks forming unpredictable regions of luminosity and darkness that resonate with the roving circles and flashes of light punctuating Toy Soldier (Notes on Robert E. Lee, Richmond, Virginia/Strobe).

The temporal zone of this video work is stroboscopic, somewhere between motion and stillness. The images rapidly flicker to absolute black and shuttle between enlarged, grainy footage of the general and his horse set against a cloudless sky, the surrounding foliage, and the Richmond night. A score by Hahn Rowe interweaves the stuttering, digitally distorted voice of Amiri Baraka—from a 1980 reading of his poem “Dope”—with moments of orchestrated woodwinds, strings, and percussion. Several distinct sets of movements and perspectives are repeatedly broken down, reconstituted, and reversed. Archival photographs briefly display the monument’s scaffolding as well as its 1890 unveiling: horse and rider shrouded in cloth, unrecognizable. Into this tone poem Pendleton also inserts a new figure: an actor standing impassively in front of the structure, silhouetted, ghostly, and often barely visible.

As in the collages and paintings, the operations employed here continuously display new aspects of the material at hand while writing, rewriting, and overwriting it. Toy Soldier (Notes on Robert E. Lee, Richmond, Virginia/Strobe) develops as a palimpsest in motion, one that confronts the “default geometries” with other modes of abstraction and representation, with other pasts, futures, and aftermaths.

Adam Pendleton was born in 1984 in Richmond, VA, US, and lives and works in New York, NY, US. Pendleton has been the subject of major solo exhibitions including These Things We’ve Done Together, Montreal Museum of Fine Arts, Montreal, CA (2022); Who Is Queen?, The Museum of Modern Art, New York, NY, US (2021); Elements of Me, Isabella Stewart Gardner Museum, Boston, MA, US (2020); Adam Pendleton, Le Consortium, Dijon, FR (2020); List Projects: Adam Pendleton, MIT List Visual Arts Center, Boston, MA, US (2018); shot him in the face, KW Institute for Contemporary Art, Berlin, DE (traveled to Baltic Centre for Contemporary Art, Gateshead, UK) (2017); Front Room: Adam Pendleton, Baltimore Museum of Art, Baltimore, MD, US (2017); Becoming Imperceptible, Contemporary Arts Center New Orleans, LA, US (traveled to Museum of Contemporary Art Denver, CO, US, and MOCA Cleveland, OH, US) (2016–17). Pendleton was included in the Whitney Biennial 2022: Quiet as It’s Kept, co-curated by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs.

Today's News

November 2, 2022

Is the Mondrian upside down, or is it an abstract enigma?

New works from Rana Begum highlights interplay between light and form, nature and architecture

Adam Pendleton presents new work at Galerie Eva Presenhuber

King Tut died long ago, but the debate about his tomb rages on

Nationalmuseum acquires painting by Jean-François Raffaëlli

Hake's Nov. 15-16 auction lineup underscores rock-solid market for Star Wars & surging popularity of vintage video games

Roland Auctions NY enjoys high-profile month in November along with Fall Estates Auction

Rare miniature portrait of an American Indian dignitary acquired by The Colonial Williamsburg Foundation

Marina Abramović and Ron Arad launch new initiative to raise funds for Ukrainian cultural institutions

Why Russia stole Potemkin's bones from Ukraine

Toshi Ichiyanagi, avant-garde composer and pianist, dies at 89

Art Basel announces further show highlights for its largest edition yet in Miami Beach

Langson IMCA launches interactive digital experience of California impressionist landscape paintings

Antique glass auction including pieces by Hawkes, Meriden, Libby and others will be sold by Woody Auction on Nov. 12th

IFPDA celebrates return of in-person fair with record attendance and strong sales

James Cohan opens an exhibition of new paintings by Firelei Báez

Royal College of Art announces £6.1 million Märit Rausing Scholarships in Ceramics & Glass

The Freedom Sculpture gifted by Iranian-Americans to los Angeles takes on a new meaning during Iranian protests

West Chelsea Contemporary mounts second annual Concrete to Canvas Exhibition

Takeoff, of Atlanta rap trio Migos, shot dead at 28

Nahmad Contemporary to open 'Every Kind of Wind, Calder and the 21st Century'

Bertoia's to auction 3 legendary toy collections + bonus robot collection, Nov. 17-18

Bread, pastrami and cocktails: Museum shows focus on food

Apollo Art Auctions unveils magnificent trove of curated, fully authenticated ancient art and antiquities

3 Online Casino Games Recently Released in Australia

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Truck Accident Attorneys
Accident Attorneys

Royalville Communications, Inc
Founder's Site. Hommage
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful