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March 11 2009 4 11 /03 /March /2009 11:06


Full of innovations and surprises, the Deitch gallery is presenting until April 04th two very noticeable shows. One is the presentation of the New Yorker Ryan Mc Ginness’ latest works: In a swarming of small characters, geometrical forms and fine arabesques which could easily be messy, this graphic illustrator offers us a colorful world ingeniously composed. Indeed, those canvas are the result of a very fine and balanced composition, which leads us to an in between world of nature and graphic design, coming directly from our inside world:

“His work combines all-over composition, inspired by Jackson Pollock and the mechanical silkscreen process inspired by Andy Warhol. The work also fuses naturalistic and contemporary pop culture references. His imagery derives form a broad range of sources: from dreams and hallucinations to song lyrics and fragments of art history. There is a push and pull between content and form, and between literal meaning and intuitive feeling. McGinness' paintings represent his own mental landscape. His compositions reflect the infinite, ever-flowing continuum of the universe.”


 


The second exhibition, entitled Kessler’s Circus, is an installation made by Jon Kessler where we instantly fall into the aggressive and exuberant world of the American war machine. A unique experience that raise up the meaning that can have today an installation in the art world: “The work depicts the American military-industrial complex as macabre circus, traveling from country to country, importing nothing and exporting atrocities under the veil of democracy. Rather than simply presenting a mediated spectacle, Kessler indicts the audience in the violence.

Surrounded by handmade mechanisms and surveillance cameras, the viewer becomes part of the machine. There is an induced sense of vertigo and surge of paranoia, as the viewer's own faces appear in the video feed. Entering Kessler's Circus, one is immersed in an undefined state, conflating machine and spectacle with entertainment and horror.” In a time of masquerades and collapse, this installation makes us think twice to the power of massive technology when used in the name of security.


 

[pictures: on the top Ryan McGinness, Master of Reality, 2008, Acrylic on linen, 96 x 144 inches, 24. 3.8 x 365.8 cm. courtesy Deitch gallery. Below, Jon Kessler, The Palace at 4 a.m., P.S.1 Contemporary Art Center, New York, 2006, courtesy Deitch gallery.]


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