VIEWs introduces the newest body of works by the artist, which includes the VIEW painting series, a site-specific mural, and ceramic sculptures. VIEWs presents Ginzburg’s engagement with the development of modernist-formal vocabulary in Eastern Europe, which addresses theories of viewing. Marking the inaugural exhibition at Helwaser Gallery’s new location (833 Madison Avenue, Third Floor), the show will be on view March 28–May 23, 2019. Executed on wooden panels of two distinct sizes, each work references diagrammatic representations of the binocular field of human vision. Based on the shape and geometry of the panels, abstract compositions are developed through color, plane, and line. This exhibition is accompanied by an exhibition catalogue, with an essay by Meghan Forbes, C-Map Fellow for Eastern Europe, MoMA.
Anton Ginzburg (b. 1974, St. Petersburg, Russia) is a New York-based artist, known for his films, paintings, sculptures, and text-based printed work investigating historical narratives and poetic studies of place, representation, and post-Soviet identity. His work has been shown at the 54th Venice Biennale; the Blaffer Art Museum at the University of Houston; Southern Alberta Art Gallery, Canada; Palais de Tokyo, Paris; the San Francisco Museum of Modern Art; White Columns, New York; Lille 3000, Euralille, France; and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery, London; Rotterdam International Film Festival (IFFR); Dallas Symphony Orchestra; Nasher Sculpture Center, Dallas; Les Rencontres Internationales, Paris; Haus der Kulturen der Welt, Berlin; and New York Film Festival/Projections among others.
August 2, 2019
"[VIEWs] traces the moment when the viewer encounters the artwork. The paintings themselves are diagrammatic representations of human binocular vision that are made up of planes and lines. They propose and define the choreography of moving through the exhibition space...When I was working on the exhibition, I was thinking about a system of objects and images, their relationships, and the actions that pass onto the painting as an object as it transitions into new contexts."
—Anton Ginzburg, in conversation with Meghan Forbes, Mousse Magazine
"Ginzburg alters the shape of his new paintings, swapping octagons for a four-sided form...These compositions employ horizon lines, creating the sense that what we are looking at is not purely abstract, but is rather some reference to the idea of a landscape. This is not an objective landscape, however. It is more like a metaphysical landscape, or a landscape of the mind... It is tempting to look for symbolism in the shapes, patterns and forms. But there is also something democratic happening in the liminal spaces where the colors and lines meet: we are looking at borders, and admiring how our perception of things changes when lines are crossed."
—Philip Barcio, Anton Ginzburg’s Interpretations of Eastern Europe's Modernist-Formal Vocabulary, IdeelArt Magazine
"The Russian Futurist, Mikhail Matyushin, whom Ginzburg has claimed as an influence, put forth the notion of 'expanded viewing,' which he developed in the 1920s and 30s in his Visiology Center in Leningrad... It is a notion of colors in space that potentially corresponds to [Władysław] Strzemiński and [Katarzyna] Kobro’s—and the artists would have perhaps known Matyushin from their time in the same circles in revolution-era Russia. Ginzburg’s own expansive vision for the triangulation of color and space in conversation with a viewing subject reflects his engagement with the historical avant-garde."
—Meghan Forbes, "On VIEW", in Anton Ginzburg: VIEWs
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