Steve Bishop

Staying afloat. Shanaynay benefit show 2017 brings together over 24 international artists’ work, Oct 13 – 29

12 October 2017

The Shanaynay benefit show 2017 is on at Paris’ Shanaynay, opening October 13 and running to October 29.

Now in its fourth year running, the annual fundraiser will feature over 24 works by artists including  Steve Bishop, Vittorio Brodmann, Keren Cytter, Thomas Hirschhorn, Flora Klein, Karl Larsson, Ann Lislegaard and Christophe de Rohan Chabot.

The works on sale will support the future program of the gallery. Some of their recent projects have included Karl Larsson’s solo exhibition Camilla and group exhibition A Sieve Itself May Sieve with work by Kelly AkashiTalia ChetritWilliam King, and Tori Wrånes.

Visit the FB event page for details.**

Keren Cytter, ‘Object’ (2016). Video still. Courtesy the artist.
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In the Wake (2014) @ Truth & Consequences exhibition photos

8 August 2014

Like a lot of the contemporary art exhibitions these days, the press release for Geneva exhibition In the Wake, that ran July 3 to August 2, offers little logistical information and a lot of poetic gesticulation. The opening line, for example, simply reads, “no matter what you sing I will already know what you speak of”, and on plugging the words into Google, hoping for a song lyric or a text remnant with which to contextualise, the only relevant hit was T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’. It was a coincidence, to be sure, but a happy one; few lines could describe the general atmosphere of In the Wake better than Eliot’s “an evening spread out against the sky / like a patient etherized upon a table”.

The exhibition, which was curated by Julia Marchand and ran at Geneva’s Truth and Consequences from July 3 to August 2, featured recent works by London-based artists Steve Bishop and Philomene Pirecki. In an email-exchange with Marchand, she reveals that the concept was influenced by Yves Lomax’s Sounding the Event, a book that marries academic and poetic writing to describe the passage of an event.

Philomene Pirecki works, installation view. Image courtesy Truth and Consequences.
Philomene Pirecki works, installation view. Image courtesy Truth and Consequences.

In a compact corner of the gallery stood a small, white cubicle screening Bishop’s latest video installation, ‘I See Them, Do You?’ (2014). Scattered around it were other pieces by Bishop: a melamine-covered board, a framed photocopy, an abandoned backpack. Along the gallery’s alternate walls were Pirecki’s works: her Reflecting White series, a photographic vinyl from her ‘White Wall’ (2014) and ‘White Painting’ (2014), the ink-and-paper sculpture resting on the ground, the four-minute audio of the artist’s heartbeat beating from the gallery’s back wall.

Interestingly, In the Wake was accompanied by an exhibition booklet that featured not only an interview between Marchand and the two artists, but also the textual contributions of artists and writers such as Peter Burleigh, Laura McLean-Ferris, Tom Morton of Cubitt Gallery, David Price, and Bastien Rousseau. The effect was that of a dynamic coming-together, a reactive meta-space in which the textual responses to the exhibition became the greater exhibition itself. **

Exhibition photos, top-right.

In the Wake exhibition ran at Geneva’s Truth and Consequences gallery from July 3 to August 2, 2014.

Header image: Philomene Pirecki, ‘Together Watching’ (2014). Image courtesy Truth and Consequences. 

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