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EXHIBITIONS

“UNTITLED (EVIDENCE)” at The David Roberts Art Foundation, London

How do we inhabit an image? How can alternative knowledge and counter-memories be generated through the displacement, misplacement or condensation of collected imagery? The works in this exhibition curated by Vincent Honoré explore the recreation and transposition of narrative structures, applied to systems of representation, image production and dissemination. The separation of roles between authors, actors, protagonists and observers in the images’ treatment, or manipulation, leave them as unanswered enigmas in which meaning is to be reinvented through the viewer’s active participation.

Collection, displacement, detachment: here is the movement of the archives of images in the works, mostly installations, created for this project at David Roberts Art Foundation.

Through her work Özlem Altin explores ideas surrounding the body and its representation. It is through the image of the body that she induces concepts concerned with disappearance, shadow, and memory. Her extensive research has amassed a large collection of images she keeps re-using and reconfiguring in site-specific installations and publications that are questioning the structures of image’s presentation.

Özlem Altin, Hand and Head Again, from the installation Something trying to make itself (come to a shape from inside itself), 2011. Photo: Luke Banks

Özlem Altin, Something trying to make itself (come to a shape from inside itself), 2011. Photo: Luke Banks

Özlem Altin, Something trying to make itself (come to a shape from inside itself), 2011. Photo: Luke Banks

Özlem Altin, Something trying to make itself (come to a shape from inside itself), 2011. Photo: Luke Banks

Özlem Altin, Reversed Contemplation, from the installation Something trying to make itself (come to a shape from inside itself), 2011. Photo: Luke Banks

Neil Beloufa demonstrates a persisting interest in dichotomies; reality and fiction, cause and effect, presence and absence, all of which he communicates through mediums ranging from sculpture, video, installation and photography. Through his construction of dichotomies Beloufa is able to deconstruct our perceived ideas of truth and fantasy, thus posing fantasy as truth. Beloufa himself dubs his work as “ethnological sci-fi documentary”.

Neil Beloufa, Documents are flat II, 2011. Courtesy: the artist and Zero, Milan. Photo: Luke Banks

Neil Beloufa, Documents are flat II, 2011. Courtesy: the artist and Zero, Milan. Photo: Luke Banks
Neil Beloufa, Untitled, 2010. David Roberts Collection. Photo: Luke Banks

Neil Beloufa, Documents are flat II, 2011. Courtesy: the artist and Zero, Milan. Photo: Luke Banks

Elad Lassry defines his work as “consumed with pictures”. Pulling images from magazines and film archives Lassry recontextualises this imagery in a manner that evokes traditions of story building and of narratives. “I’m fascinated by the collapse of histories and the confusion that results when there is something just slightly wrong in a photograph”. Whilst Lassry is successful in recontextualising this found imagery he never loses touch with its original source, the images never being displayed larger than a magazine spread and the frames painted to match the dominant hue of the original.

Elad Lassry, Woman (Pink Puzzle), 2011 and Dogs, 2011. Photo: Luke Banks

Elad Lassry, Hoffmann A, 2011 and Portrait 2 (Silver 3), 2011. Photo: Luke Banks

Through his practice Rinus Van de Velde explores the narratives of collective myth and collective history. His imagery is first generated by a large archive of collected photographs, which in some way must illustrate these collective myths, before he transforms the image into large-scale black graphite drawings. This transformation from ‘realistic’ image to ‘allegoric’ image is accompanied by a narrative text created in collaboration with a writer.

Rinus Van de Velde, I tried and failed, got stuck somewhere in-between movement and an embarrassing form of catatonia …, 2011. Photo: Luke Banks

Rinus Van de Velde, Stepping out of the cave I’ve been crawling in for these last few days …, 2011. Photo: Luke Banks

Exhibition view with works by Rinus van de Velde. Photo: Luke Banks


at The David Roberts Art Foundation, London

through August 20, 2011

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