Ryan Gander

The search for our evolutionary roots in Jaguars And Electric Eels at Julia Stoschek Collection, Feb 5 – Nov 26, 2017

4 April 2017

The Jaguars And Electric Eels group exhibition is on at Düsseldorf’s Julia Stoschek Collection, having opened February 5 and running to November 26, 2017. 

The show brings together 30 artists who engage in the “search for our evolutionary roots” including Heike BaranowskyEncyclopedia Pictura/ Björk, Ryan GanderDonna Huanca, Isaac Julien, Ana Mendieta, Ben RiversGuan Xiao and Anicka Yi, among others.

Through an observation of nature and ourselves, the works look at ‘indigeneity,’ hybridity and “synthetic forms of life” as well as migration and our “constantly changing perceptions of reality” that affect and influence the way we understand the world. 

Founded in 2007, the Julia Stoschek Collection in Düsseldorf is a private collection of contemporary art that focuses mainly on time-based media art, also opening a space in Berlin in 2016. Both regularly present exhibitions and publications of their collection that houses over 700 works by international artists.

See the Julia Stoschek Collection website for details.**


  share news item

Okayama Art Summit 2016, Oct 9- Nov 27

10 October 2016

The new triennial art exhibition Okayama Art Summit will take place at various locations across Okayama, Japan opening on October 9 and running to November 27.

Directed by New York-based artist Liam Gillick, 31 artists have been chosen to respond to the theme of ‘Development’ featuring work by Katja Novitskova Rachel Rose Trisha Baga Rirkrit Tiravanija Motoyuki Shitamichi Ahmet Öğüt Simon Fujiwara Hannah Weinberger and Ryan Gander among many others.

Taking place within a city that is under constant and heavy urban development, Gillick’s chosen theme is fitting as well as multi-directional. Spanning ideas of architecture and capitalist progress to gaming and cinema, there is a freedom to play with the political, formal and ideological structures inherent in this word. The exhibition will provide a strata of examination, from looking back to looking forward, where artists “deploy modes of withdrawal and resistance in the face of the dominance of “ideas in development”.

Visit the Okayama Art Summit 2016 webpage for more details.**

Okayama Art Summit 2016, Promotional Image. Courtesy the Okayama art Summit organisation.
Okayama Art Summit 2016, Promotional Image. Courtesy the Okayama art Summit organisation.




  share news item

Ryan Gander @ Cactus, Jul 7 – Aug 14

6 July 2016

Ryan Gander is presenting solo exhibition An exhibition of early works by Ryan Gander at Liverpool’s Cactus, opening July 7 and running August 14.

The show will coincide with much anticipated Liverpool Biennial that opens a few days later on July 9.

There is little information to accompany the exhibition and its title, but we are invited to expect things like conceptual necklaces, a breeze running through a gallery, Gander’s ‘Alchemy Boxes’ where meaning and value is imbued and intertwined with stories and leftover narratives found in objects, and a study of a car in a field full of snow (‘Is This Guilt in You Too – (The Study of a Car in a Field)’, 2005) that looks at the sincerity of interpretation.

See the Cactus website for (limited) details.**

Ryan Gander – I Need Some Meaning I Can Memorise (The Invisible Pull) (2012) @ Documenta 2013. Courtesy the artist.
Ryan Gander, ‘I Need Some Meaning I Can Memorise (The Invisible Pull)’ (2012) @ Documenta 2013. Courtesy the artist.
  share news item

Transparencies (2015-16) exhibition photos

23 May 2016

TRANSPARENCIES, a group exhibition curated by Simone Neuenschwander and Thomas Thiel at Bielefelder Kunstverein ran from November 7, 2015, to January 17, 2016. It examined the fundamental shifts occurring with the dawn of the digital age and the dilemma of its positive and negative impact.

Artists like Neïl Beloufa, Juliette Blightman, Ryan Gander, Calla Henkel Max Pitegoff, David HorvitzKatja Novitskova and Yuri Pattison took part in what would be a two part project taking place between the exhibition at Bielefeld and a symposium in Nuremberg and responds to the cultural facets of (non-)transparency in a globalized climate.

Metahaven @ Transparencies (2015-16). Installation view. Courtesy Kunstverein, Bielefeld.
Metahaven @ Transparencies (2015-16). Installation view. Courtesy Kunstverein, Bielefeld.

Dealing with the ambivalence of the term in diverse ways, the artists’ reflect on the idea of transparency and a shared sense of insecurity and doubt that comes along with the positive promise of limitless access to information and communication that modern life can offer us. The press releases describes the work as taking a “critical approach to post-privacy society” looking to algorithms, data-drives, and other modes of interpersonal exchange.

Using a family of logotypes that are used by corporations to create transparent products such as clear varnish, the graphic design studio Metahaven developed its own visual identity in the run up the exhibition. In addition, the show continued through a series of talks, workshops, a symposium as well as a project website (www.transparencies.de). There is fluid movement between subject matter and areas of investigation that relate to communication, contemporary history, economics, sociality and biology. However, an overall theme of presence and absence connects the conversation, with its strong focus on how our society handles knowledge.

The Transparencies project was also made into a comprehensive catalogue and publication that features texts by the curators as well as Emmanuel Alloa, Clare Birchall and Manfred Schneider launched at Motto Books on May 17.**

Exhibition photos, top right.

The TRANSPARENCIES group exhibition was on at Bielefelder Kunstverein, running November 7, 2015, to January 17, 2016.

Header image: David Horvitz @ Transparencies (2015-16). Install view. Courtesy Kunstverein, Bielefeld.

  share news item