Reworking Historical Art at The Hollows with The Apprentices
+THE APPRENTICES, March 2 – April 16, 2017
Opening Reception: Thursday March 2, 2017, 6-9pm
Reworkings of art historical pieces whose artists are alive.
The Hollows is pleased to announce its group exhibition The Apprentices for which artist are reworking art historical pieces with the condition that the originals’ artists are alive. The Apprentices is a survey of different uses and functions of appropriation. The title is inspired by the reality tv show series “The Apprentice”, by pointing out to a different market and production relationality -than that of what Trump has come to be representative as of this day- where dynamics are not based on competition a and for which artists are choosing their masters and replying to them for their own reasons. For the exhibition the 5 floor building will be showcasing 14 works. Mengyao Guo is reworking Sean Scully after being inspired by the anecdote that during an exhibition they found a booger on Scully’s pieces.The artist is crafting a thousand boogers to be removed from the painting as a performance during the opening, taking value of art into consideration. Tomie Seo is translating Richard Serra ’s Corner Prop into a life sized drawing in pencil, essentializing light and shadow as the mutual media threading the two works together. Max Neuman is appropriating Jeff Koons’ infamous Balloon Dog series in a sarcastic plaster balloon sculptural installation titled Jeff’s Koonts undermining art market dynamics, and showing how art history is marked infinitely and permanently as new generations of artists treat big names as a given, and their contributions as raw art material in and of itself. Other more contemporary gestures include Sierra Ortega’s restaging of Fluxus artist Alison Knowles ’ 1962 performance Proposition: Make a Salad , for which Ortega employs appropriation as a means of marking an art piece with its chrono-specifity, relating it to current technology and social climate. Performance artist, Sunny Quetzalcoatl utilizes the space that was opened up by Marina Abramovic with The Artist is Present . Abramovic ’s work brought performance and its relation to time,space and the visitor experience to zero, maybe creating the modern break within performance art as a medium, after a life-long career devoted to, comprised of mostly, or started with subversive gestures. Sunny Quetzalcoatl picks up on the modern space that is charted by Abramovic and he impersonates the ancient indigenous Uza-Chicmecatl Xonax tribe, in full costume with props such as their musical instruments and smells. He invites the visitors to sit with him, heart to heart, allowing people of his tribe to be observed intimately, at a time when their customs are on the verge of disappearing completely. P?r?l Gu?ndu?z is rooting her User-Generated-Content mashup video series Agony of Hair in Jean-Luc Godard ’s montage, specifically in his 1975 film Number Two. Godard’s style of editing original and found moving image is significant in his genus of weaving together video essays that hyperlinks among its components. Agony of Hair edits YouTube clips together, clips that users themselves shot, acted and uploaded, including imagery from hair removal procedures, asking questions of victimhood and exploitation, the voluntary, a technology that exists for just a little more than a decade, with inspiration from Godard’s creation of super text and encouragement of utilizing new ways of moving-image making.