• The Stuff Dreams Are Made Of, Too:

    Harold Ancart
    Harold Ancart
    Nikolas Gambaroff, Double (G), 2013, bronze and shirt, 74 x 55 inches (124,5 x 58,4 cm)
    Nikolas Gambaroff, Double (G), 2013, bronze and shirt, 74 x 55 inches (124,5 x 58,4 cm)

    At Clearing Gallery, off the Morgan stop in Bushwick, geographically diverse artists are put together in one show.  The show, called The Stuff Dreams Are Made Of, Too, mounts sculpture onto walls and tests the limits of materials while resisting pictorial language to fabricate a dreamscape.

    Untitled (Peep Hole) by Harold Ancart literally offers a peek to the outside from the inside of the gallery by way of a peephole that makes the skyline seem at once small and tangible.  Other works include Marina Pinsky’s inkjet print, mounted to the same wall as Ancart’s piece and Neil Beloufa’s Vintage Series, which also places a reference to the outside or elsewhere on this side of the interior.  Beloufa’s piece is a picture of the beach that completely ignores sunlight.  Oppositional to this is a painting by Viola Yeşiltaç that grows darker along the edges and condenses space in the same way while sublime, vertical shapes hover in the forefront.  Verticality appears again in Pinsky’s print, Cooper Jacoby’s Faces and Columns, and the gravity of the jacket in Nikolas Gambaroff’s Double (G).

    It takes a few minutes to find all the faces in the room, the lenticular print being the most obvious and its humor the most hidden – it shows the artist and his assistant as difference expressions of the same person.  Then there is the bronze casted foam face, the small green table, and the distorted pennies.  All of them possess a contortion of a face. 

    Neil Beloufa
    Neil Beloufa
    Koenraad Dedobbeleer, An Archaic word for a Gift, 2010, bronze, 4 x 4 x 4 inches (10 x 10 x 10 cm)
    Koenraad Dedobbeleer, An Archaic word for a Gift, 2010, bronze, 4 x 4 x 4 inches (10 x 10 x 10 cm)

    Every domestic item (a hanging jacket, a doorknob, a peephole) is subjected to decor rather than iconography, as if in a familiar dream, and the forms are too base and too comical to be taken in a Freudian manner, even if they have the intention of a pun.  The repetition of copper and bronze in the room (sculptures by Jacoby, Koenraad Dedobbeleer, Gambaroff, and the metal construction of Ancart’s peep hole) bring concrete perception back.  The objects follow the same material logic as a lived-in apartment in which everything light is dirty and everything heavy is clean. 

    If the show had been a dream it would have been the kind that is hard to remember for its lack of events and its slick resistance to the kinds of images to which memory sticks best.  The show locates the arena for dreaming and in doing so proposes a sense of dislocation as the premise for dreaming and showing work but also as dislocated faces against a backdrop of the banal and similar.
    Harold Ancart, Neil Beloufa, Koenraad Dedobbeleer, Nikolas Gambaroff, Cooper Jacoby, Jacob Kassay,
    Esther Kläs, Marina Pinsky, Viola Yeşiltaç: on view until June 22, 2014.C L E A R I N G Gallery505 Johnson Avenue #10
    Brooklyn, NY 11237
    +1 347 383 2256
    Thursday – Sunday, 12-6 pm

    Photos courtesy of the gallery

    Marina Pinsky, Untitled, 2013, Archival inkjet print on paper, 20 x 29 inches (22 x 31 inched framed)
    Marina Pinsky, Untitled, 2013, Archival inkjet print on paper, 20 x 29 inches (22 x 31 inched framed)
    Cooper Jacoby
    Cooper Jacoby
    Esther Kläs, TWO, 2014, mixed media mounted on wood, 24 x 24 x1 1/2 inches (61 x 61 x 4 cm)
    Esther Kläs, TWO, 2014, mixed media mounted on wood, 24 x 24 x1 1/2 inches (61 x 61 x 4 cm)
    Viola Yeşiltaç, Wenn das Sujet sich unwohl fuhlt, 2013, fountain pen & calligraphy ink on reverse of white vinyl, 75 x 55 inches (187,9 cm x 139,7 cm)
    Viola Yeşiltaç, Wenn das Sujet sich unwohl fuhlt, 2013, fountain pen & calligraphy ink on reverse of white vinyl, 75 x 55 inches (187,9 cm x 139,7 cm)

     

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