Inconceivable: Christiane Spatt, Sabine Groschup, Elisabeth Zoe Knass & Holger Lang Opening: Saturday November 14, 6 - 9 pm
Exhibition Dates: November 14 - December 6
Christopher Saucedo is pleased to present and exhibition of four Austrian artists in the main room of the Good Children gallery in an exhibition titled: Inconceivable, featuring four Austrian artists: Christiane Spatt, Sabine Groschup, Elisabeth Zoe Knass and Holger Lang.
About the show, Holgar Langs says: “This show will give the audience in and around New Orleans the possibility to experience contemporary work from a far, far away land. As visitors from charming Vienna, a traditional cultural center in good old Europe, these established artists will bring some of the engaging flavor of the life in a quaint foreign city to Louisiana. When Holger Lang, who’s work had in the past already been presented at the GOOD CHILDREN gallery and at THE FRONT across the street, had been offered a new exhibition for his latest work he suggested to change the planned solo-exhibition to a more diverse group-show. As the gallery had responded very open to this proposal he could then pick several artists from Vienna who would not only provide excellent work, but also a background of personal connections and interactions between each other.
Their trip to the US was then sponsored by the Culture Section at the Federal Chancellery of Austria and by Webster Vienna Private University. In their enduring quest for a true and worthy creative bequest they all have been working in a variety of fields, crossing the boundaries of disciplines and domains. Collaboration and exchange is key elect of their artistic practice.
As part of their visit they will also give a talk at LSU in Baton Rouge where they will not only present further examples of their work, but they will also talk about surviving the rocky terrain of non-commercial international art. Based on their joint exhibition in New Orleans the transatlantic travelers will reveal unknown details of their work, manifest secrets of their interactions and disclose the intangible mysteries of their motivations.
This event will not only complement the show at GOOD CHILDREN, it also connects with the screening of a full length program of Contemporary Austrian Experimental Animation, also curated by Holger Lang and also presented on campus of LSU in Baton Rouge. 2 of the 4 artists in this show will also have films shown in this screening. As transportation is a cost-intensive exercise for most artists the pieces on display in the St. Claude Arts District are simultaneously light and easy traveling, but also engaging and touching examples of the visiting Austrians work.
In the end a virtual person emerges between these 4 artists that is at the same time a painter, a photographer, and installation artist, writer, performer, filmmaker, dancer, graphic designer and animator, also a sculptor and a recording artist, in short - a person that could possibly be anything and everything. And that is quite inconceivable.”
Curated by Laura Blereau
Opening: Saturday November 14, 6 - 9 pm
Exhibition Dates: November 14 - December 6
Good Children Gallery is pleased to announce the first solo exhibition in Louisiana by LoVid, a collaborative duo comprised of Tali Hinkis and Kyle Lapidus. Founded in New York in 2000, LoVid is best known for their immersive art installations and participatory audiovisual performance work. LoVid’s large-scale interdisciplinary projects, which combine new technology with social intervention in public space, have garnered support from Electronic Arts Intermix, Rhizome, Franklin Furnace, the Robert Rauschenberg Foundation, the Experimental Television Center, Turbulence.org, Wave Farm and the Lower Manhattan Cultural Council.
LoVid’s practice explores a wide variety of visual information delivery systems, including analog synthesizers, sculpture, weaving, mobile media cinema and drawing. In their work, the technological and tactile become entangled in a web of digital signals and glitches - leaving behind a memory that is rendered by analog video techniques and patterns of electrical pulses in the human body. LoVid carries forward a legacy begun in the early days of video and computer technology in the 1960s and ‘70s, inspired by individuals and collectives who rebelled against the corporate interests attached to these new media developments. By disrupting the commercial myth of convenience and flawless function, LoVid reaffirms technology as a tool in the service of creative and idiosyncratic minds.
The exhibition Tephra Garden presents three new bodies of work. The first is a series of sculptures collectively referred to as “Video Taxidermy”. In these pieces handiwork, such as sewing, links together moments of visual information that was yielded by live processing events occurring during LoVid’s 2014 residency at Signal Culture in upstate New York. Eruptions of full saturation color are frozen in time, printed to fabric, and then hand-stitched to reveal wild surface patterns and sine waves. These wall-mounted trophies are illuminated by a site-specific video projection, and framed by works on paper and odd-shaped collages.
The third group of pieces in Tephra Garden is experienced as a multiple channel video installation titled “Ruby Rendering”. Invoking the sensation of an archaeological dig, it features recycled and obsolete screens sourced within the local community. Pieces of cable are organically strewn across the floor, suggesting fragile intelligence, or the remnants of a livingdead media ecology. Juxtaposing the primitive and advanced, this painterly beast carries the rhythm of frenetic electrical signals on the brink of chaos.
The exhibition Tephra Garden is made possible in part by producer Christopher Saucedo and curator Laura Blereau. The artists of LoVid wish to thank Good Children Gallery; the Fine Arts faculty at the University of New Orleans and Louisiana State University; and all donors and lenders of audio-visual equipment – especially Hotel Furniture Liquidators LLC, Courtney Egan, Kourtney Keller and anonymous. LoVid expresses its deepest gratitude to the residency program at Signal Culture in Owego, New York, where all work in the exhibition was conceptualized; and Stony Brook University, for their ongoing studio support.
PDF version of press release