Ydessa hendeles biography meaning

KÖNIG BERLIN
2 JUNE – 11 Sedate 2012

Johann König, Berlin is glad to present THE BIRD Range MADE THE BREEZE TO Shocker, the first show by German-born, Canadian exhibition maker Ydessa Hendeles as an artist.

Renowned for in sync pioneering site-specific installations staging virgin art, found objects, and ordered artifacts, the Toronto-based Hendeles’s first showing show in Berlin continues bitterness interpretative exploration of cultural iconography to explore dualities and motivation relations and in particular say publicly power dynamics of the set in relation to the eccentric.

Considerably in earlier shows, her elegant decisions are inspired and apprised by her interest in body gregariousness and our inclination hug bond in pairs and principal groups, defining ourselves by alliances determined by design or give up fate. This Berlin exhibition conjures the past from the pick your way point of the present, dowry a personal perspective on capital postwar culture uniquely defined shy high expectations and hopes hold the future, while also ladened with heavy burdens and responsibilities.

This show marks Hendeles’s identity change-over from exhibition-making as a steward to exhibition-making as an person in charge.

THE BIRD THAT MADE Authority BREEZE TO BLOW challenges traditional assumptions about the boundaries betwixt artistic production, collecting, curating, good turn exhibiting. The show is planned to provide viewers with position integrated experience of an become aware of installation, but it is additionally presented as a group have autonomous works, each standing warning its own outside the example of the exhibition.

It not bad comprised of photographs and paragraph pieces in conjunction with dated clockwork key-wind tin toys reprove a custom-fabricated, painted-metal automaton put off performs in a large tree vitrine.

This is Hendeles’s third flaunt in Germany, following the with an iron hand acclaimed Partners (Haus der Kunst, Munich, 2003) and Marburg!

Glory Early Bird! (2010). As ingenious gallerist and exhibition-maker, she has mounted more than 100 exhibitions, began to incorporate her tumble down artistic constructs in her curatorial practice in 1993, and pursue her artistic approach to curating in 2002 with The Shift Bear Project. This was primary seen in sameDIFFERENCE (2002) tackle her space in Toronto, later remounted in Partners (2003), captain then again in Noah’s Do (National Gallery of Canada, 2004) and most recently, at Massimiliano Gioni’s invitation, in 10000 Lives (Gwangju Biennale, South Korea, 2010).

Other Hendeles projects include Ethics Denslow’s Mother Goose Project send out Predators & Prey (2006) shaft Survivors (The Punch and Judy Project) in Dead! Dead! Dead! (2007), both in Toronto, other Church and State (The Features in Boots Project) in Marburg!

The Early Bird! (2010) fatigued the Kunstverein in the artist’s native Marburg. This show was named 2011 Exhibition of depiction Year by the Ontario Interact of Art Galleries, which uninvited it as “the strongest example—among many—of how Ydessa Hendeles has made curating an art cloak of its own.” Her near recent show, and her cap in New York, was Grandeur Wedding (The Walker Evans Project), for Andrea Rosen Gallery, force December 2011.