Serialities

Roni Horn’s work consistently generates uncertainty to thwart closure in her work. Important across her oeuvre is her longstanding interest to the protean nature of identity, meaning, and perception, as well as the notion of doubling; issues which continue to propel Horn’s practice.

Since the mid-1990s, Horn has been producing cast-glass sculptures. For these works, colored molten glass assumes the shape and qualities of a mold as it gradually anneals over several months. The sides and bottom of the resulting sculpture are left with the rough translucent impression of the mold in which it was cast. By stark contrast, the top surface is fire-polished and slightly bows like liquid under tension. The seductively glossy surface invites the viewer to gaze into the optically pristine interior of the sculpture, as if looking down on a body of water through an aqueous oculus. Exposed to the reflections from the sun or to the shadows of an overcast day, Horn’s glass sculpture relies upon natural elements like the weather to manifest her binary experimentations in color, weight and lightness, solidity and fluidity. The endless subtle shifts in the work’s appearance place it in an eternal state of mutability, as it refuses a fixed visual identity. Begetting solidity and singularity, the changing appearance of her sculptures is where one discovers meaning and connects her work to the concept of identity.

For Horn, drawing is a primary activity that underpins her wider practice. Her intricate works on paper examine recurring themes of interpretation, mirroring and textual play, which coalesce to explore the materiality of color and the sculptural potential of drawing. Horn’s preoccupation with language also permeates these works; her scattered words read as a stream of consciousness spiralling across the paper. In her ‘Hack Wit’ series, Horn reconfigures idiomatic turns of phrase and proverbs to engender nonsensical, jumbled expressions. The themes of pairing and mirroring emerge as she intertwines not only the phrases themselves but also the paper they are inscribed on, so that her process reflects the content of the drawings. Words are her images and she paints them expressionistically, which—combined with her method—causes letters to appear indeterminate, as if they are being viewed underwater.

Notions of identity and mutability are also explored within Horn’s photography, which tends to consist of multiple pieces and installed as a surround which unfolds within the gallery space. Examples include her series ‘The Selected Gifts, (1974 - 2015),’ photographed with a deceptively affectless approach that belies sentimental value. Here, Horn’s collected treasures float against pristine white backdrops in the artist’s signature serial style, telling a story of the self as mediated through both objects and others—what the artist calls ‘a vicarious self-portrait.’ This series, alongside her other photographic projects, build upon her explorations into the effects of multiplicity on perception and memory, and the implications of repetition and doubling, which remain central to her work.

Paul McCarthy is widely considered to be one of the most influential and groundbreaking contemporary American artists. Born in 1945, and raised in Salt Lake City, Utah, he first established a multi-faceted artistic practice, which sought to break the limitations of painting by using unorthodox materials such as bodily fluids and food. He has since become known for visceral, often hauntingly humorous work in a variety of mediums—from performance, photography, film and video, to sculpture, drawing and painting.

During the 1990s, he extended his practice into installations and stand-alone sculptural figures, utilizing a range of materials such as fiberglass, silicone, animatronics and inflatable vinyl. Playing on popular illusions and cultural myths, fantasy and reality collide in a delirious yet poignant exploration of the subconscious, in works that simultaneously challenge the viewer’s phenomenological expectations.

Whether absent or present, the human figure has been a constant in his work, either through the artist‘s own performances or the array of characters he creates to mix high and low culture, and provoke an analysis of our fundamental beliefs. These playfully oversized characters and objects critique the worlds from which they are drawn: Hollywood, politics, philosophy, science, art, literature, and television. McCarthy’s work, thus, locates the traumas lurking behind the stage set of the American Dream and identifies their counterparts in the art historical canon.

McCarthy earned a BFA in painting from the San Francisco Art Institute in 1969, and an MFA in multimedia, film and art from USC in 1973.  For 18 years, he taught performance, video, installation, and art history in the New Genres Department at UCLA, where he influenced future generations of west coast artists and he has exhibited extensively worldwide. McCarthy’s work comprises collaborations with artist-friends such as Mike Kelley and Jason Rhoades, as well as his son Damon McCarthy.

Born in Hamburg Germany in 1936, Eva Hesse is one of the icons of American art of the 1960s, her work being a major influence on subsequent generations of artists. Comprehensive solo exhibitions in the past 50 years, as well as a retrospective that toured from the San Francisco Museum of Modern Art to the Museum Wiesbaden in Germany and finally to the Tate Modern in London, have highlighted the lasting interest that her oeuvre has generated. Hesse cultivated mistakes and surprises, precariousness and enigma, to make works that could transcend literal associations. The objects she produced, at times barely present yet powerfully charismatic, came to play a central role in the transformation of contemporary art practice.

In New York in the 1960s, Hesse was one of a group of artists, including Robert Morris, Bruce Nauman, Richard Serra and Robert Smithson, who engaged with materials that were flexible, viscous or soft: latex rubber, plastic, lead, polythene, copper, felt, chicken-wire, dirt, sawdust, paper pulp and glue. Often unstable and subject to alteration, these elements yielded works that were vital in their relativity and mutability. Hesse was aware she produced objects that were ephemeral, but this problem was of less concern to her than the desire to exploit materials with a temporal dimension. Much of the life-affirming power of Hesse’s art derives from this confident embrace of moment. As she stated in an interview with Cindy Nemser for Artforum in 1970, 'Life doesn’t last; art doesn’t last.'

Mira Schendel is one of the most significant artists to emerge from Latin America during the twentieth century. Born in Switzerland in 1919, Schendel emigrated to Brazil from Europe in 1949, ultimately settling in São Paulo in 1953, where she swiftly occupied a leading place in the country's vibrant post-war artistic scene.

Traversing the realms of painting, drawing and sculpture, while deriving inspiration from a constellation of sources—as varied as Concrete Poetry, semiotics, phenomenology, the epic tradition, Zen Buddhism, and aspects of Eastern and Western philosophy—Schendel's prolific body of works provoked a radically new lexicon of avant-gardist practice in Brazil.

The late Brazilian poet, Haroldo de Campos, has described the spirit of her work as ‘an art of voids’, wherein, ‘the utmost redundance begins to produce original information; an art of words and quasi-words where the graphic form veils and unveils, seals and unseals… a semiotic art of icons, indexes, symbols which print on the blank of the page their luminous foam.’

Born in Zurich to a family of Jewish origin, Schendel was baptized and raised as a Catholic in Italy. In 1938, while studying philosophy at the Catholic University in Milan, Schendel was persecuted for her family's Jewish heritage. Forced to relinquish her studies and citizenship, Schendel sought asylum in Yugoslavia before passing through Switzerland and Austria (with the initial intent of establishing herself in Sophia, Bulgaria), and ultimately settling in Brazil.

This history is vital to the spiritual sensibility underlying the poetics of Schendel's work, as well as to her particular investigations of language and its material embodiments.

Although Schendel received considerable recognition during her lifetime, since her death in 1988, her work has continued to achieve national and international visibility: cementing her status as one of the most important artistic voices of her time.

New York-based artist Zoe Leonard balances rigorous conceptualism with a distinctly personal vision in her work, which merges photography, sculpture, and installation. By employing strategies of repetition, shifting perspectives, and a multitude of printing processes, Leonard’s practice probes the politics of representation and display. Leonard explores themes such as gender and sexuality, loss and mourning, migration, displacement, and the urban landscape. Her photography specifically invites us to contemplate the role that the medium plays in constructing history, and to consider the roots of contemporary photographic culture. More than its focus on any particular subject, however, Leonard’s work encourages the viewer to reconsider the act of looking itself, drawing attention to observation as a complex, ongoing process.