April 17–April 19, 2010

An Act Of Mischievous Misreading

When Harold Bloom suggested in his book ‘A Map of Misreading’ (1975) that any kind of reading, if strong, is always a misreading, he probably did not think of Meris Angioletti printing the pages of Edgar Allan Poe’s Auguste Dupin stories on top of each other. This exhibition curated by Anna Gritz expands on Bloom’s assertion and presents a selection of artworks that have taken their misreadings to an extreme, revealing the creative potential of making someone else’s work one’s own. Based on the concept of the trope in literature, a strategy in which words are used in a sense different from their literal meaning, the works in this show have plundered the canon of cultural history, using works against their original intention for the sake of giving emphasis to a new idea. Participating artists include Meris Angioletti, John Baldessari, Mario Garcia Torres, Terence Gower, Sean Landers, Lars Laumann, Edgar Leciejewski, Zena Verda Pesta, Gaël Peltier and Erin Shirreff.

The artists in this show present a study of willful misplacements, misreadings and misuses that as avenues of emancipation from the idea of Deutungshoheit (the sovereignty over interpretations) reinvent sources according to their own needs and interests. As a radical form of appropriation, these works blend homage and disrespect in a mischievous way. As an unruly form of history-writing the works break down chronologies and trigger misunderstandings that might cause reassessments through irony, parody and humor. Through association they present themselves as a postscript to an existing artwork, opening up a new discourse in the form of a continued series of misreadings.

An Exercise in Misreading, Sunday April 18, 5 pm:
In conjunction with the Exhibition An Act of Mischievous Misreading (AAOMM) a selection of artists and writers were invited to explore the creative potential of making someone else’s work one’s own and to respond to the works in the exhibition.

Contributors include: Catherine Czacki, Courtenay Finn, Monstra Personale, Jens Maier-Rothe, Robert Snowden, The Steadfast Associates, Niels Van Tomme, and Jennifer Teets & Eduardo Abaroa

This exhibition is made possible by the New York City Department of Cultural Affairs and The Royal Norwegian Consulate General in New York.

Opening Reception: Apr 17, 2010

Participating Residents

April 10, 2010

Performance: Gergely László and the Yad Hanna Theater Group

Gergely László and the Yad Hanna Theater Group presents The Collective Man, a sketch in seven scenes, performed by Gergely László and the Yad Hanna Theater Group. On April 10, Kibbutz Yad Hanna celebrate its 60th anniversary. Founded near Tulkarem – bordering the Westbank – by young Hungarian survivors of the Holocaust, Israel’s best-known communist kibbutz was named Yad Hanna (Hannah Memorial) in homage to the heroic memory of Hanna Szenes. The founders of the kibbutz – officially established on April 10, 1950 and famous for its committed leftism – also included the younger sister of Gergely László’s maternal grandmother as well as her husband, who are still among the hundred to live on the premises of the once exemplarily managed settlement. The Collective Man is part of Gergely László’s Yad Hanna Kibbutz Project on the reconstruction of the (hi)story of a community, presenting the richness of its differences, patterns and identities in the context of personal and collective memory. Inspired by a research on theatre plays performed on Purim celebrations in Yad Hanna, quoting archival photographs and conversations with members of the Kibbutz, The Collective Man will be telling a story of a small community, in continuous struggle with the problems of sharing and living together.

April 6, 2010

Salon: Alberto Borea (Peru) and Monika Marklinger (Sweden)

Alberto Borea’s work is characterized by the continuous displacement and use of diverse media and materials. This openness towards a diversity of media helps him to define the development of an artistic proposal, in which fundamental importance is adhered to the object’s time and history within the plastic discourse. Borea is interested in the relation between different cultures and histories, between the so-called center and its periphery. The position of distance in cultural, economic and social events is an important part of the process and execution of his projects. Attracted to the residues of civilization and culture, Borea has a particular interest in using and conceptualizing such residues for his work. Lately his work has been related to non-places, transit and movement, mapping the self, and mapping identity.

Characteristic of Monika Marklinger’s work is the emphasis on visual questions from a social and political perspective. She seldom works with single pictures but rather strives to integrate her stories and pictorial elements in collages and installations full of details. These become a sort of open chain of thoughts where text and image, object and projection, painting and photography unite. Monika Marklinger has contributed to several publications and artistic research projects such as What is to be done [Chto Delat] (part of Documenta Magazine Table, Kassel 07) and Painting Beyond Space, RUFCA, Stockholm. Marklinger has exhibited in several venues in Sweden and abroad, including Moderna Museet, Stockholm, Galerie im Taxispalais, Innsbruck, Austria and the Prince Of Wales Museum, Bombay, India. Monika Marklinger is represented by Galleri Flach+Thulin in Stockholm.

Participating Residents