Revision as of 08:57, 11 September 2015

Hidden Treasure

Sanne Verkleij

Dionne Wolff

Tim Demper

Thom Trouwborst

Christopher Noort

I is... (ii)(2012)

Ryan Gander - I is… (ii), marble resin, 2013 @Boijmans

I is (iii) is a marble sculpture representing a den / simple shelter made by the artist's 3 year old daughter using a full size Rietveld Cargo chair and smaller Rietveld Crate chair designed for children. In an article for De Groene Amsterdammer Rudi Fuchs accurately notes: (...) Artists retain observations within the framework of their style, which is linked with a particular time. In his daughter's tent Ryan Gander discerned, for instance, angular forms concealed beneath a loose sheet—saw them in such a way that the loose rectangular quality became a motif in his view. To his generation of artists, the minimalist Sol LeWitt was a steady beacon—just as Cézanne was a saint to the Cubists. At the same time, Sol is of course a millstone as well. What Gander then saw, in that childlike construction made by his daughter (and given a title in infant speech) were starkly Cubist forms, like those of LeWitt, that had now been thrown off balance for once. A child's unwitting fun with chairs and a sheet showed that there is, in fact, another side to that organized straightforwardness. This is immediately revealed by his sculpture. Of course he was already aware of that other side before. But if they want to avoid coming across as overly dogmatic, artists will find a narrative motif with which and around which they can express themselves visually. Source: Rudi Fuchs, Groene Amsterdammer, 25 april 2013.

https://www.artsy.net/artwork/ryan-gander-i-is-dot-dot-dot-iii

Rietveld Cargo chair

More information about Ryan Gander's artwork

Ryan Gander’s complex and unfettered conceptual practice is stimulated by queries, investigations or what-ifs, rather than strict rules or limits. For example, what if a child’s den of sheets were remade in memorialising marble (Tell My Mother not to Worry (ii), 2012)? What if all the pieces in a chess set were remade in Zebra Wood, so that neither side was entirely black nor white (Bauhaus Revisited, 2003)? Gander is a cultural magpie in the widest sense, polymathically taking popular notions apart only to rebuild them in new ways – perhaps by refilming the same ten-second clip 50 times over, as in Man on a Bridge (A study of David Lange), 2008. Language and storytelling play an overarching role in his work, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical, palindromic new word, ‘mitim’, into the English language. Occasionally his ludic concepts drift into more bodily, relational challenges, especially in This Consequence of 2006, that involved the unsettling presence of a gallery owner or invigilator dressed in an all-white Adidas tracksuit, with an additional sinister red stain embroidered into the fabric. Invitation and collaboration are also at the heart of Gander’s fugitive art – whether he’s exchanging fictionalised newspaper obituaries with an artist-friend or taking pictures of people looking at pictures at an art fair – although arguably every solipsistic action he takes merely holds up yet another mirror to his ceaselessly voracious mind.

http://www.lissongallery.com/artists/ryan-gander

Ryan Gander wishes to create a dialogue between the viewer and the work, which have references to art history, cinematography and narrative structures. With his objects, installations, texts and films he invites visitors to establish their own connections, to make up their own stories and to generate individual meanings. Gander creates new meanings by bringing together various elements in a variety of combinations at different times within a new context. Gander’s works do not reveal their underlying stories. In a recent interview Gander explained: ‘If you let the spectator discover something on their own terms it holds more significance than it being handed on a plate.’

http://www.boijmans.nl/.../calendaritem/297/ryan-gander

Concept

Object opnieuw materialiseren met behulp van het satijne doek en visdraad.

Door het doek op te hangen in de vorm van het kunstwerk. Met ventilator of de beweging met van de toeschouwer beweegt het doek en laat kleine stukjes zien van het mysterie.

Met de toevoeging van een lamp/beamer/schaduw verhoog je dit mysterieuze aspect nog meer

MacGuffin