Frieze New York
Stand A18
20 Randall’s Island
Peres Projects is pleased to exhibit on the inaugural occasion of Frieze New York 2015 with works by Dan Attoe, Mike Bouchet, Mark Flood, Dorothy Iannone, Marinella Senatore, Brent Wadden and showing Peter Shire for the first time.
Peter Shire is one of the original members of the Milan-based Memphis group, and is known for his playful modernist vocabulary that eschews definition. On view at Frieze New York 2015, Peres Projects will present colossal manifestations of his renowned ceramic cups.
Dan Attoe lives and works in Portland, Oregon. Attoe will be exhibiting a large-scale oil on canvas landscape—a surreal scene punctuated by his unusual and obscure narratives and subjects, who are often trumped by the vastness of the environment around them.
Mike Bouchet lives and works in Frankfurt, Germany. On view will be Bouchet’s denim painting series, ”Carpe Denim,” first realized in March of 2004, which involved the production of several thousand denim pants in Colombia. The jeans incorporated into the paintings are of his own design, and have a unique style. They are “one size-fits-all” with an elastic waistband. They have two large pockets in the back, a marsupial style pocket up front, and a long pocket on the side that runs most of the length of the right side. Once the jeans were completed, Bouchet threw half of them out of an airplane in the region where they were produced. The remaining pants constitute a sculpture. Over the following years, Bouchet has been developing this project and its related works, and has thrown many jeans into public areas in several locations around the world: out of a building in New York City, from a convertible car in Antwerp, and from the top of a shopping mall in Frankfurt.
Mark Flood’s new series, ”Aged Paintings,” appropriates corporate signage in various stages of decay, clustering many logos together on one canvas to create new contexts and meanings. The “Aged Paintings” are painted with acrylic and oil on burlap with almost photorealistic precision, and then aged and patinated, appearing almost as artifacts of our times to a future civilisation.
Created during her time in America, Dorothy Iannone’s abstract paintings from the late 1960s and earlier constitute the beginning of her exploration of vibrant color structures and intimate visual narratives. While these works have their roots in Abstract Expressionism, one can also observe early instances of her own style of figuration and textually grounded themes of erotica, mysticism, and liberated female sexuality—all of which would become central to Iannone’s oeuvre.
Marinella Senatore has used the medium of film to build communities consisting of tens of thousands of volunteers from around the world. After studying under Fellini’s cinematographer in Rome, Senatore exploited the potential of cinematic production to bring divergent groups of people together towards a common goal of making a movie. Though Senatore’s complex social practice sometimes engages volunteers which number in the thousands for a single film, this aspect of social engagement is in fact the medium for an artistic output which happens after these large scale events have taken place. Senatore’s colorfully abstract sculptures from the “Scenographia Cutout” series are created in the studio by dissecting the sets built and used by volunteers in the various films.
Brent Wadden’s time-based works are created through a labor-intensive, solitary weaving process. However, the materials that structure these works are acquired through a social and improvisational method: Wadden barters with weaving communities for these fibers, in effect creating an expanding international social network. The texture and surface of these soft and kinetic compositions which Wadden creates alone in his studio contain evidence of the dynamic community he has engaged.
