ENTERTAINMENT HARDWARE
Museo Nacional de Bellas Artes (MNBA), Region Metropolitana, Santiago, 08/09/2014 - 09/21/2014
ABOUT
The Museo Nacional de Bellas Artes (MNBA) Santiago, Museo Sin Muros project is very pleased to presentENTERTAINMENT HARDWARE, a solo exhibition of new paintings by New York based artist Chris Dorland curated by Patricio M. Zárate. This will be the artist’s first exhibition in Chile.
For this exhibition, Dorland will be presenting a new series of five large sewn tapestry paintings as well as a related group of ten enamel and photocollage paintings. These new works continue the artist’s exploration of consumer culture and the representation of contemporary capitalist spaces. The 15 works on view examine painting’s ongoing relevance in the digital world and it’s often contradictory place within consumer society.
The tapestry paintings reference and compress the history of post-war painting (Minimalism, Arte Povera, Geometric Abstraction, Pop Art, Neo-Geo, Appropriation) into provisional structures that take the shape of painting but by-pass the use of paint. Dorland appropriates commercial stock images, which are enlarged and printed onto photo-canvas. The printed images are then sewn into composited structures of commercial fabrics (cordura nylon, colored vinyl, commercial tarps) as well as traditional fine art painting materials such as raw linen and primed canvas.
Dorland’s dislocation and re-appropriation of the independently produced commercial stock images into the formal structure of his paintings create a tension between repetition, originality, labor, meaning and language. The syntax and grammar of the paintings is revealed and laid bare while simultaneously confusing the logic of painting and product. The inherently commercial stock images are repurposed towards abstract means whereby they sit, isolated and context-less; high-resolution representations of luxury and desire forced into abstraction by advertising a product that never materializes.
Entertainment Hardware explores our desire for originality and meaning while proposing a new understanding of both painting and history based on recursive modes of production. Production and meaning are constructed through repetitious procedures that allow for the creation of a new set of principals; the previous works inform the proceeding ones, generating new originals whose structures, material and form simultaneously suggest repetition and infinite possibility.
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The Museo Nacional de Bellas Artes (MNBA) Santiago, Museo Sin Muros project is very pleased to presentENTERTAINMENT HARDWARE, a solo exhibition of new paintings by New York based artist Chris Dorland curated by Patricio M. Zárate. This will be the artist’s first exhibition in Chile.
For this exhibition, Dorland will be presenting a new series of five large sewn tapestry paintings as well as a related group of ten enamel and photocollage paintings. These new works continue the artist’s exploration of consumer culture and the representation of contemporary capitalist spaces. The 15 works on view examine painting’s ongoing relevance in the digital world and it’s often contradictory place within consumer society.
The tapestry paintings reference and compress the history of post-war painting (Minimalism, Arte Povera, Geometric Abstraction, Pop Art, Neo-Geo, Appropriation) into provisional structures that take the shape of painting but by-pass the use of paint. Dorland appropriates commercial stock images, which are enlarged and printed onto photo-canvas. The printed images are then sewn into composited structures of commercial fabrics (cordura nylon, colored vinyl, commercial tarps) as well as traditional fine art painting materials such as raw linen and primed canvas.
Dorland’s dislocation and re-appropriation of the independently produced commercial stock images into the formal structure of his paintings create a tension between repetition, originality, labor, meaning and language. The syntax and grammar of the paintings is revealed and laid bare while simultaneously confusing the logic of painting and product. The inherently commercial stock images are repurposed towards abstract means whereby they sit, isolated and context-less; high-resolution representations of luxury and desire forced into abstraction by advertising a product that never materializes.
Entertainment Hardware explores our desire for originality and meaning while proposing a new understanding of both painting and history based on recursive modes of production. Production and meaning are constructed through repetitious procedures that allow for the creation of a new set of principals; the previous works inform the proceeding ones, generating new originals whose structures, material and form simultaneously suggest repetition and infinite possibility.
For More Information