Artists: Scott Reeder, Cameron Rowland, Liam Gillick
Exhibition title: International Currency
Curated by: Noah Barker
Venue: Lodos, Mexico City
Date: April 30 – June 27, 2015
Photography: images courtesy of the artists and Lodos
We’re at the beach now, beneath the cobblestone. The city was so despicable before. It was restless with resistance. There’s no longer anything to resist. I only can exist. Five decades it took for power to conform to me, on its own timetable. No instant revolution, no romantic moment, but a slow defilement followed by reconstruction; streets ground to sand.
I remember! Art was at the barricade, on the wall, directing resistance: ‘dig up the pavement and hurl it.’ A Dummies Guide to Negation. In the world to tell me what I don’t want.
Now I have what I need; a vitrine for luxurious living and a future I project. Art doesn’t force my hand. Instead, I bring it together. My ideas fill its difference as we share our present and indeterminate future.
Scott Reeder (b. 1970 in Ann Arbor, MI) lives and works in Detroit and Chicago, teaching at the Art Institute of Chicago. Solo exhibitions include the Museum of Contemporary Art, Chicago; Midway Contemporary Art, Minneapolis; 356 Mission Road, Los Angeles; Lisa Cooley, New York; The Green Gallery, Milwaukee; Kavi Gupta, Chicago and Berlin; Jack Hanley, San Francisco; Daniel Reich Gallery, New York; and Pat Hearn Gallery, New York. Select group exhibitions include Tate Modern, London; New Jerseyy, Basel; and Gavin Brown’s Enterprise, New York. Reeder’s work is included in the collections of the Museum of Contemporary Art, Chicago; The Hirschhorn Museum and Sculpture Garden, Washington D.C.; The Atlanta Contemporary Art Center, Atlanta; and the Kadist Foundation, Paris.
Cameron Rowland (b. 1988, Philadelphia, PA) lives and works in New York. He received a BA in Studio Art from Wesleyan University in 2011. He has done projects at Essex Street, New York; Wilfred Yang, Los Angeles; Appendix Space, Portland; and Wave Hill, Bronx. He has been in group exhibitions at Punta della Dogana, Venice; LUMA Foundation, Zurich; Galerie der HFBK, Hamburg; Weingrull, Kalsruhe; and Deuxpiece, Basel; Miguel Abreu, New York. With John Beeson, Rowland co-edits the book series TND.
Liam Gillick (b.1964, Aylesbury, U.K.) is an artist based in New York. His work addresses the semiotics of the built world and the relationship between abstraction and political agency. Gillick’s work has been included in numerous important exhibitions including documenta and the Venice and Berlin Biennales. Solo museum exhibitions have taken place at the Museum of Contemporary Art in Chicago, The Museum of Modern Art in New York. Over the last twenty- five years Gillick has also been a prolific writer and critic of contemporary art. He is the author of a number of books including a volume of his selected critical writing. Throughout this time Gillick has extended his practice into experimental venues and collaborative projects with artists including Philippe Parreno, Lawrence Weiner and Louise Lawler.
Noah Barker (b.1991) is an artist based in New York.
Cameron Rowland, Constituent, 2014.
Outlet, Dimensions variable.
Courtesy of Private Collection, New Jersey.
Outlets allow the flow of current through cable. When electrical cable is sold as scrap, the outlet is often still connected, but cannot be used and has no value.
An electrician cuts the power supply to one outlet, removes the faceplate and reveals the copper core of two electrical wires.
Scott Reeder, Detroit Rubble (blue), 2015.
Stone fragments, spray enamel. Dimensions variable.
Cameron Rowland, Constituent, 2014.
Outlet, Dimensions variable.
Courtesy of ESSEX STREET, New York.
Outlets allow the flow of current through cable. When electrical cable is sold as scrap, the outlet is often still connected, but cannot be used and has no value.
An electrician cuts the power supply to one outlet, removes the faceplate and reveals the copper core of two electrical wires.
Scott Reeder, Detroit Rubble (orange), 2015.
Stone fragments, spray enamel. Dimensions variable.
Liam Gillick, Heckle, 2014.
Video. 9 min. 10 sec. Courtesy of the artist and Eva Presenhuber, Zurich.
One of the lights is off in the exhibition space because it was wired with an outlet that has been disabled by an electrician in the installation of Cameron Rowland’s Constituent (edition 3, 1 AP).
Two editions of this work are installed here from different loans, a US collector and the artist’s New York gallery.
The projector mount has been chromed as well.
