13 Feb 2014 – 29 Mar 2014

PNI, London

Dafna Maimon | Edward Kay | Georgia Sagri | Joe Frazer | Julien Nguyen | Matthew Lutz-Kinoy | Richard Healy | Taocheng Wang | Than Hussein Clark | Ulrike Ottinger

I love you Me either

Installation view: I love you Me either

Than Hussein Clark
Voyans! Voyans! (And when he looked at the table and it failed to match the photograph, he drew up one last line of defense)
2014
Steel, perspex, smoked glass, bone china, enamel
165 × 27 × 31 cm (64 ½" × 10 ⅝" × 12 ¼")
Unique

Installation view: I love you Me either

Georgia Sagri
Ha!
2008 - 2014
15 laughing cuts on colour fluorescent plastic sheets, magnets, screws
240 × 410 × 8 cm (94 ½" × 161 ⅜" × 3 ⅛")
Unique

Julien Nguyen
Abomination, Winter
2014
Acrylic, inkjet print, fake jewellry on paper, mounted on wood with artist frame
105 × 150 cm (41 ⅜" × 59")
Unique

Richard Healy
Dialogue with the Rich
2014
Mouth blown glass, shelf
40 × 30 × 105 cm (15 ¾" × 11 ¾" × 41 ⅜")
Unique

Installation view: I love you Me either

Matthew Lutz-Kinnoy
His loose flower arrangement
2014
Acrylic on unprimed canvas
214 × 434 × 5 cm (84 ¼" × 170 ⅞" × 1 ½")
Unique

Installation view: I love you Me either

Joe Frazer
SHOP FLOOR
2014
Polished bronze, acrylic, bronze, calico, cotton thread
69 × 12 × 7 cm (27 ⅛" × 4 ¾" × 2 ¾")
Unique

Dafna Maimon
The She The Same
2014
HD video
23 mins.
Edition of 5 plus I AP

Edward Kay
Working Mum, Volume 2
2014
Diptych, acrylic on board
Dimensions variable
Unique

A group exhibition with the participation of

Dafna Maimon
Edward Kay
Georgia Sagri
Joe Frazer
Julien Nguyen
Matthew Lutz-Kinoy
Richard Healy
Taocheng Wang
Than Hussein Clark
Ulrike Ottinger

In regards to desire and excess, circulation and stasis, plenitude and exhaustion.

The main thing is to know how to set about it, to be able to concentrate your attention on a single detail, to forget yourself sufficiently to bring about the desired hallucination and so substitute the vision of a reality for the reality itself.

As a matter of fact, artifice was considered…to be the distinctive mark of human genius.

Nature…has had her day; she has finally and utterly exhausted the patience of sensitive observers by the revolting uniformity of her landscapes and skyscrapers. After all, what platitudinous limitations she imposes, like a tradesman specializing in a single line of business; what petty-minded restrictions, like a shopkeeper stocking one article to the exclusion of all others; what a monotonous store of meadows and trees, what a commonplace display of mountains and seas!

In fact, there is not a single one of her inventions, deems so subtle and sublime, that human ingenuity cannot manufacture; no moonlight Forest of Fountainbleau that cannot be reproduced by state scenery under floodlighting; no cascade that cannot be imitated to perfection by hydraulic engineering; no rock that papier-mâché cannot counterfeit; no flower that carefully chose taffeta and delicately colored paper cannot match!

There can be no shadow of doubt that with her never-ending platitudes the old crone has by now exhausted the good humored admiration of all true artists, and the time has surely come for artifice to take her place whenever possible.

– Joris-Karl Huysmans, Against Nature (A Rebours) (1884), trans. Robert Baldick

 

In supplementation to the exhibition, a film screening of Ulrike Ottinger, Ticket of No Return (1979), on 19 February 2014, 18:45, @ the ICA. Tickets.