Studio, a solo exhibition at Ribordy Contemporary, opens January 19th, 2012.
ERIK LINDMAN ‘Studio’
Cut, paste, staple, tear, reassemble: it is around the act and process that Erik Lindman’s works are elaborated. Working with existing elements - waste, objects of the studio, pieces of works abandoned – all signs of the creative act, he uses the defects of the canvas and "failures" as a spring of its creativity. These paintings include an important part of historical abstraction, of which they are freed and that they replay in a complete freedom.
“I find things: work surfaces in particular, discarded by other artists, construction workers, or bums, and make these objects hang like paintings.
The objects that end up being carried back to the studio lack physical dimension: they become surfaces, image. On these walks I’m not interested in validating garbage as art or in regurgitating Marxist platitudes about high and low culture. The particular surfaces used are those that engage, though their specific material iteration, in the aesthetic historical tradition of drawing and painting. It is my taste that is foregrounded, as well as a dedication to the absurd efficiency of art.
This taste articulates an understanding of beauty that originates in the Anonymous. I could not create these surfaces or incidents, but can articulate their impersonal beauty as this beauty comes in contact with my personality. Simone Weil best describes what is at stake in her essay Human Personality (1943):
The human being can only escape from the collective by raising himself above the personal and entering into the impersonal. The moment he does this, there is something in him, a small portion of his soul, upon which nothing of the collective can get a hold. If he can root himself in the impersonal good so as to be able to draw energy from it, then he is in a condition, wherever he feels the obligation to do so, to bring to bear without any outside help, against any collectivity, a small but real force.
The labor is in editing. It is not the creation of a journey, the validation of the artist, or the love of things fallen out of the Zeugganzes (ndlr: Heideggerian notion meaning a coherent and useful tool system). I believe these to be proper paintings and do not care if the viewer chooses to see art in everything. A painting made of shit or gold, or shit or gold itself, can no longer not be part of the everyday.”
Erik Lindman – December 2011
Ruins in Reverse Group exhibition.
Ethan Breckenridge / David Brooks / Zipora Fried / Emily Henretta / Wyatt Kahn / Zak Kitnick / Erik Lindman / David Scanavino / Erin Shirreff / Nick Van Woert
"Inspired by the multifarious output of Robert Smithson and Gordon Matta-Clark, this first exhibition at the gallery celebrates the destructive nature of entropy"
January 8th- March 4th, 2012
41 Orchard Street, NYC, NY 10002
Modern Collections Soft Op: STRATEGIES OF MATERIAL TRANSFORMATION
13th Jan – 25th Feb 2012
Proposing a unifying term for a group of artists active primarily in New York, Soft OP outlines historical precedents for the optical and material experimentation of artists such as Anna Betbeze, Jacob Kassay, Erik Lindman, and Ned Vena. The artists combine optical patterning and sleight of eye with an alchemical alteration of materials, making what should be hard, resilient and impenetrable over into permeable visual membranes.
The categorization Soft OP describes predominantly abstract artworks that perform through manufactured material or optical transformation. Employing a chance driven, trace focused archiving of sensation or occurrence the works exhibit a highly phenomenological nature. Generally executing in series the artists of Soft OP are adroit manipulators of repetition, displacement, illusion, and combination.
In works most signature to Soft OP material transformations occur and surfaces perform extraordinary tricks – flat canvases distort, fold or twist and lines cut through grounds to reveal a second skin. Surfaces appear soft, somehow alive and active, with layers below to be excavated and revealed. Alternatively, this soft surface calcifies, turning chemical and reflective. Where representational-narrative images occur they fade into an endless expansive void. Each painting is an objective world unto itself, not a ground or plane for the projection of an identifiable image. The exhibition comprises a multi-generational view of these techniques and strategies.
Into The Surface Aaron Bobrow, Heather Cook, Alex Dordoy, Andrew Gbur, David Hominal, Leo Gabin , Erik Lindman, Nazafarin Lotfi, Joseph Montgomery, Oscar Murillo, N.Dash, Ben Schumacher, Hugh Scott-Douglas, Dan Shaw-Town, Nick Van Woert, Ned Vena, Phil Wagner, Lisa Williamson
January 12, 2012 - February 23, 2012
NADA Miami Beach The Deauville Beach Resort 6701 Collins Avenue Miami Beach, FL 33141
December 1 - 4, 2011, Booth 311
Featuring: Ryan Foerster, Erik Lindman & David Malek