A
30 Bradford Kessler, ‘Mistletoe (3,2,1)' (2014). Install view. Courtesy Rowing, London.
B
29 Daniele Milvio, ‘Black and green scallop shell' (2014). Install view. Courtesy Rowing, London.
C
28 Heathers (2014). Installation view. Rowing, London.
D
25 Right-Left: Deanna Havas, ‘Regrind (1)’, ‘Regrind (2)’, ‘Regrind (3)' (2014). Install view. Courtesy Rowing, London.
E
Andrea Crespo, ΑΩ, 2014, Playstation 3 game disc case, images, lottery ticket, quote by Elliot Rodger(UC Santa Barbara) (Inside)(1)
F
Andrea Crespo, ΑΩ, 2014, Playstation 3 game disc case, images, lottery ticket, quote by Elliot Rodger(UC Santa Barbara) (Back)(1)
G
Andrea Crespo, ΑΩ, 2014, Playstation 3 game disc case, images, lottery ticket, quote by Elliot Rodger(UC Santa Barbara) (Front)(1)
H
Andrea Crespo, Sturmgeist, 2014, Playstation 3 game disc case, images, hologram overlay, blood, quote by Eric-Pekka Auvinen(Jokela) (Inside)
I
Andrea Crespo, Sturmgeist, 2014, Playstation 3 game disc case, images, hologram overlay, blood, quote by Eric-Pekka Auvinen(Jokela) (Back)
J
Andrea Crespo, Sturmgeist, 2014, Playstation 3 game disc case, images, hologram overlay, blood, quote by Eric-Pekka Auvinen(Jokela) (Front)
K
Andrea Crespo, ΑΩ, 2014, Playstation 3 game disc case, images, lottery ticket, quote by Elliot Rodger(UC Santa Barbara) (Inside)
L
Andrea Crespo, ΑΩ, 2014, Playstation 3 game disc case, images, lottery ticket, quote by Elliot Rodger(UC Santa Barbara) (Back)
M
Andrea Crespo, ΑΩ, 2014, Playstation 3 game disc case, images, lottery ticket, quote by Elliot Rodger(UC Santa Barbara) (Front)
N
24 Andrea Crespo (2014). Installation view. Courtesy Rowing, London.
O
23 Andrea Crespo (2014). Installation view. Courtesy Rowing, London.
P
22 Heathers (2014). Installation view. Rowing, London.
Q
2 Daniele Milvio, ‘Light blue goblet' (2014). Install view. Courtesy Rowing Projects.
R
20 Lisa Holzer, ‘Nude monochrome’s naked dream,' (2014). Install view. Courtesy Rowing, London.
S
19 Right-Left: Lisa Holzer, 'Nude monochrome’s naked dream’, ‘It’s my hair and I can do what I want with it!' and ‘Nude monochrome’s naked dream with Ei passing under spaghetti (blushing orange)' (2014). Install view. Courtesy Rowing, London.
T
18 Heathers (2014). Installation view. Rowing, London.
U
17 Erika Ceruzzi, ‘Ribbons (Electrobank)' (2014). Install view. Courtesy Rowing, London.
V
16 Kait Mooney, ‘third initial' (2014). Install view. Courtesy Rowing, London.
W
15 Top-bottom: Erika Ceruzzi, 'Ribbons (Electrobank)' (2014). Kait Mooney, 'third initial' (2014). Install view. Courtesy Rowing, London.
X
14 Right-Left: Erika Ceruzzi, ‘Ribbons (Electrobank)' (2014). Lisa Holzer, 'Nude monochrome’s naked dream' (2014). Install view. Courtesy Rowing, London.
Y
13 Heathers (2014). Installation view. Rowing, London.
Z
12 Daniele Milvio, ‘Turquoise ashtray on violet plate' (2014). Install view. Courtesy Rowing, London.
[
11 Heathers (2014). Installation view. Rowing, London.
\
10 Daniele Milvio, ‘Orange plate' and ‘Veronese green bowl' (2014). Install view. Courtesy Rowing, London.
]
9 Rachel Maclean, 'LolCats’ (2012). Install view. Courtesy Rowing Projects.
^
8 Heathers (2014). Installation view. Rowing, London.
_
7 Heathers (2014). Installation view. Rowing, London.
`
6 Deanna Havas, 'Regrind (4)’ (2014). Install view. Courtesy Rowing, London.
a
5 May Hands, 'Endless Euphoria (Calvin Klein)' and 'Guilty, (Gucci)’. Install view. Courtesy Rowing, London.
b
4 Right-left: May Hands, ‘Endless Euphoria (Calvin Klein)' and 'Guilty, (Gucci)' (2014). Daniele Milvio, ‘Light blue goblet' (2014). Install view. Courtesy Rowing Projects.
c
3 Right-left: Deanna Havas, ‘Regrind (4)' (2014). Daniele Milvio, ‘Light blue goblet' (2014). Install view. Courtesy Rowing Projects.
d
Heathers (2014). Installation view. Rowing, London.
e
11 Heathers (2014). Installation view. Rowing, London.

Heathers (2014) @ Rowing exhibition photos

, 8 December 2014

Happening a while back but one not to be overlooked, Camden’s Rowing in London presented a nine-strong exhibition of artists inspired by the 1988 teen cult-classic and would-be mass murder movie, Heathers, running September 19 to October 25. Curated by New York’s Alex Ross and crossing generations born before and beyond the 80s, the exhibition rides on the inescapable cycle of contemporary art co-option in popular culture via its “impulse to vampirise levity as a cipher for criticality and de-subjectivisation”.

'Heathers', 2014, installation view, Rowing, London
Heathers (2014). Installation view. Courtesy Rowing, London.

It takes the Michael Lehmann film’s quiet nods to artworks – obtusely referred to in a list of timings appearing on the Rowing exhibition page in lieu of a press release – across 11 pivotal scenes underscored by their appearance in the background. The Heathers exhibition in turn takes this idea of appropriation and depoliticisation of a post-Pop Art space further, by presenting works that reintegrate popular, or more specifically, commodity culture back into the artwork, begging the question, ‘what’s the difference anyway?’ Hence there’s May Hands‘, ‘Endless Euphoria (Calvin Klein)’ (2014) – a minimal white netted canvas dotted with the fashion house’s perfume cards – next to ‘Guilty, (Gucci)’ (2014) and Deanna Havas‘s ‘Regrind (4)’, a papier mâché plaque on foam crudely painted with brands, a browser window and fragments of text including, “Brand Name: Famous”.

Bradford Kessler‘s ‘Mistletoe (3,2,1)’ (2014) hangs from the ceiling at the Rowing entrance – tasteful snow-white head harnesses fitted with crisp new tennis ball gags – while Daniele Milvio’s glazed raw clay scallop bowls are mounted across four walls. That’s where Kait Mooney‘s titanium negative ion necklace for the athlete in ‘third initial’ (2014) lies scattered in a scrawl on the floor. It’s tubing and brass fittings lead away from Erika Ceruzzi‘s tumbling wall hung, ‘Ribbons (Electrobank)’ (2014), across from Rachel Maclean‘s ‘LolCats’ (2012) 15-minute video, on the floor in the corner. The latter artist performs famous cultural moments throughout history – from a Katy Perry interview (“I wanted them to be, like, Britney Spears-white.”) to a scene from The Wizard of Oz (“But, I don’t understand”) – as the ‘LOLCat’ meme personified in a hyper-stylised fantasy landscape.

Where the art and the curatorial concept comes to bear most succinctly, is in Lisa Holzer‘s framed painting of ‘Nude monochrome’s naked dream with Ei passing under spaghetti (blushing orange)’ (2014), where the Tiqqun-inspired framed pigment print behind glass reacts as much as it mediates in an interface between person and projection (“girly-like shy rather than ashamed“). Anime stickers are stuck across from frame to transparent screen in the paler ‘It’s my hair and I can do what I want with it!’ (2014) print, confusing where the image ends and the ‘reality’ begins. The causality dilemma is extended to video game culture, high school shootings and the socialised violence, misogyny and alienation of conventional masculinity in Andrea Crespo‘s empty Playstation 3 game disc boxes. The Complex Cases feature blurbs taken from existing blog posts left behind by soon-to-be teen mass murderers in what’s becoming a growing trend building up on copy-cat actions by the likes of Jeff Weise and Elliot Rodger, with Jokela High School student Eric-Pekka Auvinen insisting, “HUMANITY IS OVERRATED!” **

Heathers group exhibition was on at London’s Rowings Projects, running September 19 to October 25. 

Header image: Lisa Holzer, ‘Nude monochrome’s naked dream’ (2014) @ Heathers. Install view. Courtesy the gallery.

Heathers @ Rowing Projects, Sep 19 – Oct 25

17 September 2014

Happening a while back but one not to be overlooked, Camden’s Rowing in London presented a nine-strong exhibition of artists inspired by the 1988 teen cult-classic and would-be mass murder movie, Heathers, running September 19 to October 25. Curated by New York’s Alex Ross and crossing generations born before and beyond the 80s, the exhibition rides on the inescapable cycle of contemporary art co-option in popular culture via its “impulse to vampirise levity as a cipher for criticality and de-subjectivisation”.

'Heathers', 2014, installation view, Rowing, London
Heathers (2014). Installation view. Courtesy Rowing, London.

It takes the Michael Lehmann film’s quiet nods to artworks – obtusely referred to in a list of timings appearing on the Rowing exhibition page in lieu of a press release – across 11 pivotal scenes underscored by their appearance in the background. The Heathers exhibition in turn takes this idea of appropriation and depoliticisation of a post-Pop Art space further, by presenting works that reintegrate popular, or more specifically, commodity culture back into the artwork, begging the question, ‘what’s the difference anyway?’ Hence there’s May Hands‘, ‘Endless Euphoria (Calvin Klein)’ (2014) – a minimal white netted canvas dotted with the fashion house’s perfume cards – next to ‘Guilty, (Gucci)’ (2014) and Deanna Havas‘s ‘Regrind (4)’, a papier mâché plaque on foam crudely painted with brands, a browser window and fragments of text including, “Brand Name: Famous”.

Bradford Kessler‘s ‘Mistletoe (3,2,1)’ (2014) hangs from the ceiling at the Rowing entrance – tasteful snow-white head harnesses fitted with crisp new tennis ball gags – while Daniele Milvio’s glazed raw clay scallop bowls are mounted across four walls. That’s where Kait Mooney‘s titanium negative ion necklace for the athlete in ‘third initial’ (2014) lies scattered in a scrawl on the floor. It’s tubing and brass fittings lead away from Erika Ceruzzi‘s tumbling wall hung, ‘Ribbons (Electrobank)’ (2014), across from Rachel Maclean‘s ‘LolCats’ (2012) 15-minute video, on the floor in the corner. The latter artist performs famous cultural moments throughout history – from a Katy Perry interview (“I wanted them to be, like, Britney Spears-white.”) to a scene from The Wizard of Oz (“But, I don’t understand”) – as the ‘LOLCat’ meme personified in a hyper-stylised fantasy landscape.

Where the art and the curatorial concept comes to bear most succinctly, is in Lisa Holzer‘s framed painting of ‘Nude monochrome’s naked dream with Ei passing under spaghetti (blushing orange)’ (2014), where the Tiqqun-inspired framed pigment print behind glass reacts as much as it mediates in an interface between person and projection (“girly-like shy rather than ashamed“). Anime stickers are stuck across from frame to transparent screen in the paler ‘It’s my hair and I can do what I want with it!’ (2014) print, confusing where the image ends and the ‘reality’ begins. The causality dilemma is extended to video game culture, high school shootings and the socialised violence, misogyny and alienation of conventional masculinity in Andrea Crespo‘s empty Playstation 3 game disc boxes. The Complex Cases feature blurbs taken from existing blog posts left behind by soon-to-be teen mass murderers in what’s becoming a growing trend building up on copy-cat actions by the likes of Jeff Weise and Elliot Rodger, with Jokela High School student Eric-Pekka Auvinen insisting, “HUMANITY IS OVERRATED!” **

Heathers group exhibition was on at London’s Rowings Projects, running September 19 to October 25. 

Header image: Lisa Holzer, ‘Nude monochrome’s naked dream’ (2014) @ Heathers. Install view. Courtesy the gallery.

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Esperanto @ Rowing, Feb 19 – Mar 19

18 February 2016

Happening a while back but one not to be overlooked, Camden’s Rowing in London presented a nine-strong exhibition of artists inspired by the 1988 teen cult-classic and would-be mass murder movie, Heathers, running September 19 to October 25. Curated by New York’s Alex Ross and crossing generations born before and beyond the 80s, the exhibition rides on the inescapable cycle of contemporary art co-option in popular culture via its “impulse to vampirise levity as a cipher for criticality and de-subjectivisation”.

'Heathers', 2014, installation view, Rowing, London
Heathers (2014). Installation view. Courtesy Rowing, London.

It takes the Michael Lehmann film’s quiet nods to artworks – obtusely referred to in a list of timings appearing on the Rowing exhibition page in lieu of a press release – across 11 pivotal scenes underscored by their appearance in the background. The Heathers exhibition in turn takes this idea of appropriation and depoliticisation of a post-Pop Art space further, by presenting works that reintegrate popular, or more specifically, commodity culture back into the artwork, begging the question, ‘what’s the difference anyway?’ Hence there’s May Hands‘, ‘Endless Euphoria (Calvin Klein)’ (2014) – a minimal white netted canvas dotted with the fashion house’s perfume cards – next to ‘Guilty, (Gucci)’ (2014) and Deanna Havas‘s ‘Regrind (4)’, a papier mâché plaque on foam crudely painted with brands, a browser window and fragments of text including, “Brand Name: Famous”.

Bradford Kessler‘s ‘Mistletoe (3,2,1)’ (2014) hangs from the ceiling at the Rowing entrance – tasteful snow-white head harnesses fitted with crisp new tennis ball gags – while Daniele Milvio’s glazed raw clay scallop bowls are mounted across four walls. That’s where Kait Mooney‘s titanium negative ion necklace for the athlete in ‘third initial’ (2014) lies scattered in a scrawl on the floor. It’s tubing and brass fittings lead away from Erika Ceruzzi‘s tumbling wall hung, ‘Ribbons (Electrobank)’ (2014), across from Rachel Maclean‘s ‘LolCats’ (2012) 15-minute video, on the floor in the corner. The latter artist performs famous cultural moments throughout history – from a Katy Perry interview (“I wanted them to be, like, Britney Spears-white.”) to a scene from The Wizard of Oz (“But, I don’t understand”) – as the ‘LOLCat’ meme personified in a hyper-stylised fantasy landscape.

Where the art and the curatorial concept comes to bear most succinctly, is in Lisa Holzer‘s framed painting of ‘Nude monochrome’s naked dream with Ei passing under spaghetti (blushing orange)’ (2014), where the Tiqqun-inspired framed pigment print behind glass reacts as much as it mediates in an interface between person and projection (“girly-like shy rather than ashamed“). Anime stickers are stuck across from frame to transparent screen in the paler ‘It’s my hair and I can do what I want with it!’ (2014) print, confusing where the image ends and the ‘reality’ begins. The causality dilemma is extended to video game culture, high school shootings and the socialised violence, misogyny and alienation of conventional masculinity in Andrea Crespo‘s empty Playstation 3 game disc boxes. The Complex Cases feature blurbs taken from existing blog posts left behind by soon-to-be teen mass murderers in what’s becoming a growing trend building up on copy-cat actions by the likes of Jeff Weise and Elliot Rodger, with Jokela High School student Eric-Pekka Auvinen insisting, “HUMANITY IS OVERRATED!” **

Heathers group exhibition was on at London’s Rowings Projects, running September 19 to October 25. 

Header image: Lisa Holzer, ‘Nude monochrome’s naked dream’ (2014) @ Heathers. Install view. Courtesy the gallery.

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Andrew Norman Wilson @ Rowing, Dec 11 – Jan 16

11 December 2015

Happening a while back but one not to be overlooked, Camden’s Rowing in London presented a nine-strong exhibition of artists inspired by the 1988 teen cult-classic and would-be mass murder movie, Heathers, running September 19 to October 25. Curated by New York’s Alex Ross and crossing generations born before and beyond the 80s, the exhibition rides on the inescapable cycle of contemporary art co-option in popular culture via its “impulse to vampirise levity as a cipher for criticality and de-subjectivisation”.

'Heathers', 2014, installation view, Rowing, London
Heathers (2014). Installation view. Courtesy Rowing, London.

It takes the Michael Lehmann film’s quiet nods to artworks – obtusely referred to in a list of timings appearing on the Rowing exhibition page in lieu of a press release – across 11 pivotal scenes underscored by their appearance in the background. The Heathers exhibition in turn takes this idea of appropriation and depoliticisation of a post-Pop Art space further, by presenting works that reintegrate popular, or more specifically, commodity culture back into the artwork, begging the question, ‘what’s the difference anyway?’ Hence there’s May Hands‘, ‘Endless Euphoria (Calvin Klein)’ (2014) – a minimal white netted canvas dotted with the fashion house’s perfume cards – next to ‘Guilty, (Gucci)’ (2014) and Deanna Havas‘s ‘Regrind (4)’, a papier mâché plaque on foam crudely painted with brands, a browser window and fragments of text including, “Brand Name: Famous”.

Bradford Kessler‘s ‘Mistletoe (3,2,1)’ (2014) hangs from the ceiling at the Rowing entrance – tasteful snow-white head harnesses fitted with crisp new tennis ball gags – while Daniele Milvio’s glazed raw clay scallop bowls are mounted across four walls. That’s where Kait Mooney‘s titanium negative ion necklace for the athlete in ‘third initial’ (2014) lies scattered in a scrawl on the floor. It’s tubing and brass fittings lead away from Erika Ceruzzi‘s tumbling wall hung, ‘Ribbons (Electrobank)’ (2014), across from Rachel Maclean‘s ‘LolCats’ (2012) 15-minute video, on the floor in the corner. The latter artist performs famous cultural moments throughout history – from a Katy Perry interview (“I wanted them to be, like, Britney Spears-white.”) to a scene from The Wizard of Oz (“But, I don’t understand”) – as the ‘LOLCat’ meme personified in a hyper-stylised fantasy landscape.

Where the art and the curatorial concept comes to bear most succinctly, is in Lisa Holzer‘s framed painting of ‘Nude monochrome’s naked dream with Ei passing under spaghetti (blushing orange)’ (2014), where the Tiqqun-inspired framed pigment print behind glass reacts as much as it mediates in an interface between person and projection (“girly-like shy rather than ashamed“). Anime stickers are stuck across from frame to transparent screen in the paler ‘It’s my hair and I can do what I want with it!’ (2014) print, confusing where the image ends and the ‘reality’ begins. The causality dilemma is extended to video game culture, high school shootings and the socialised violence, misogyny and alienation of conventional masculinity in Andrea Crespo‘s empty Playstation 3 game disc boxes. The Complex Cases feature blurbs taken from existing blog posts left behind by soon-to-be teen mass murderers in what’s becoming a growing trend building up on copy-cat actions by the likes of Jeff Weise and Elliot Rodger, with Jokela High School student Eric-Pekka Auvinen insisting, “HUMANITY IS OVERRATED!” **

Heathers group exhibition was on at London’s Rowings Projects, running September 19 to October 25. 

Header image: Lisa Holzer, ‘Nude monochrome’s naked dream’ (2014) @ Heathers. Install view. Courtesy the gallery.

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