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02.27.2019

Anton Ginzburg

Notes on Objects

Notes on Objects

Teresa Braula Reis, Braco Dimitrijevic, Harm van den Dorpel, Marte Eknæs, Anton Ginzburg, Carlos Noronha Feio

27th February – 13th April 2019

Private view 27th February, 6-8pm

 

narrative projects is delighted to present Notes on Objects, a group exhibition featuring the work of Teresa Braula Reis, Braco Dimitrijevic, Harm van den Dorpel, Marte Eknæs, and Carlos Noronha Feio, as well as a new site-specific work by Anton Ginzburg.

The artists, whose works and references span time, geography, and media, are brought together by their overarching dedication to the expansion of the definitions of sculpture, and an embrace of text, painting, data, found objects, and materials both organic and inorganic, in a questioning of sculpture's physical and structural limitations, toward an exploration of its experiential possibilities. Decades on from Robert Morris’ 1966 Notes on Sculpture, while artists have continued to affirm and reaffirm the importance of Morris’ conceptual approach to forming and making, Notes on Objects responds to this essay with a selection of artists and works that represent a progression of its ideas through a range of approaches. These artists work as pathfinders connecting times and places, and culminate in an exhibition that celebrates their post-conceptual ability to work with a more broad view of the passage of history, and create a Morris-esque ‘experienced variable.’¹

Looking over the second room is Anton Ginzburg’s monolithic mural installation Glyph Color-Space Initiative 1 (London) (2019). A different kind of compilation, Ginzburg brings together paintings and glass panels toward an alternative sculpture form. Ginzburg’s vision appears as a more literal notion of interconnectivity, where the mirrored panels allow for a play between the surrounding works and building, and a dynamic, immersive viewing experience in the narrative projects space for which it was imagined. This strong physical presence gives the work what Morris might call a ‘quasi-architectural focus,’ with a ‘romantic attitude of domination and burdening impressiveness.’² The references in the work move to Mikhail Matyushin and the visual experience of colour perception, but the unknowable fragments of time remain, now in the form of an abstracted alphabet of runes, where dead languages and glyphs nod to Morris’ looming ‘humanitarian sentimentality.’³

 

This excerpt is from the press release, link here

 

¹Robert Morris, “Notes on Sculpture Part 2,” Artforum, October 1966. Image: Anton Ginzburg "Glyph Color-Space Initiative #1 (London)"
²Robert Morris, “Notes on Sculpture Part 3,” Artforum, Summer 1967: 4. 
³Ibid