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In the main gallery an installation of wrapped objects and
text-based wallpaper consisting of grids of four-letter words
- BUSH, IRAQ, SPIT, HOMO, DYKE, ANAL, IRAN, AMEN, PRAY, EVIL,
LOVE, EDEN, HOPE… - alludes to the iconic design of
Robert Indiana’s LOVE emblem from the 60's and General
Idea's AIDS insignia from the late 80's. “Four-letter
words” tend to have a special status in the English
language and in most cases reflect the more crude, sexual
subset of the lexicon. The virus-like dispersion of these
terms throughout the gallery and their political tenor suggest
how the public policies and decisions made by our governments
indiscriminately contaminate and shape our private lives and
futures. By inviting the viewer to don a special mask with
custom 3-D glasses to view the installation, avaf also encourage
the viewer's participation in activating their work from a
two-dimensional static experience into a three-dimensional
event that is both sculptural and temporal.
The gallery's basement space, which is usually reserved for
storage of artwork and tools, is transformed into a long dark
corridor illuminated by a sequence of five animated abstract
neon sculptures. The sculptures syncopate and flash along
to a custom soundtrack featuring music by PolaroidHomoPhoto
(an anonymous duo that looped a fragment of the song Zombi
by French musician Sebastien Tellier). Furthering the multi-dimensional
experience of the wallpaper installation upstairs, avaf's
corridor of light and sound combines the aural and visual
into a visceral occurrence meant to stimulate both the mind
and the body. The space itself - marginal, dark and intimate-
reflects upon avaf's interest in the multilayering of both
structure and image and the generation of new platforms, vistas
and vanishing points through architectural tools such as barricades
and stairways.
In the JCP project room avaf has transplanted an installation
from their 2006 solo show, absorb viral attack fantasy at
Hiromi Yoshii, Tokyo comprised of wallpaper, sculptures, video,
neons, and balloons. Here, the group continues to explore
the fertile confluence between art, architecture, performance
and entertainment by presenting an ongoing series of performances
and events including Barr, Tobias Bernstrup, Julie Atlas Muz,
Loconuts, Ann Magnuson, Japanther, Good Good and Frankie Martin
(full schedule to be announced). However, the entrance to
the project room has been sealed shut and the only given access
to both the performances and installation is peering through
portholes fitted with sheaths and wigs.
For the duration of the exhibition avaf has also invited UK
artist Giles Round to take over the gallery's Tunnel Room
(known for it’s arched public display window that looks
onto the former Tunnel nightclub). Round works in a variety
of media including painting, sculpture, installation and video.
He will present a new video installation addressing issues
of public space, theatricality, reflection and formal/spatial
orientation.
Members of assume vivid astro focus (avaf) were born anytime
between the 20th and 21st centuries in various parts of the
world. avaf has had solo exhibitions at Kunsthalle Wien; Indianapolis
Museum of Art; John Connelly Presents, NYC; Deitch Projects,
NYC: Peres Projects, LA/Berlin; galeria Triângulo, São
Paulo, Brazil; Hiromi Yoshii Gallery, Tokyo, Japan and Galleria
Massimo de Carlo, Milan, Italy. Public Projects include Make
It With You: A Slow Dance Club (collaboration with Los Super
Elegantes), Frieze Art Fair, London, UK, 2004 and assume vivid
astro focus IX, public art project for Central Park sponsored
by The Public Art Fund, New York, USA in conjunction with
the Whitney Museum of American Art 2004 Biennial. Upcoming
projects include, Destroy Athens, Athens Biennial, Fall, 2007,
AVAF XVIII, Deitch Projects, New York, Fall 2007; Sympathy
for the Devil: Art and Rock and Roll Since 1967, MCA Chicago,
Fall 2007- Winter 2008; Space for The Future, Museum of Contemporary
Art, Tokyo, Fall 2007 - Winter 2008.
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