Globe Institute of Technology
Globe Institute Gallery 291 Broadway at Reade Street,
New York, NY 10007 |
Juan Carbia and Raphy Sarkissian
NEW YORK – Abstract paintings by Juan Carbia, bracketed by abstract paintings, sculptures, and photographs by Raphy Sarkissian, will be on view in a two-person exhibition at Globe Institute Gallery, from 5 May through 27 June, 2003. Through texts, these works address the temporal (historical and phenomenological) and spatial (contextual and institutional) links of image-sculpture-text.
The Husserlian Augenblick: /Folded/
May 5 - June 27, 2003
Reception: Thursday, May 8, 6-8 PM
On the first wall of the gallery, Raphy Sarkissian will display a series of letters as objects, placed above and below a series of monochromes on wood. Through the checklist itself, this group unfolds the Saussurian notion of the sign, dilating the Kosuthian chair. Here, image-sculpture-text will act as a hinge to texts of Jacques Derrida's critique of Edmund Husserl’s explication of temporality.
On the second wall, Juan Carbia’s organic paintings rearticulate Abstract Expressionism through pigments in mixed acrylic and oil mediums applied on plexiglass. Carbia’s biomorphism consists of a skein of mediums, curves and tones. He has subjected partially accidental colors into infinitesimal lines that become pointillist when viewed up close. Carbia's titles, consisting of long excerpts, short-circuit form, material and the informe.
Upon other walls of the space, the viewer confronts abstract cibachromes, semi-serial sculptures mounted on the wall and paintings by Sarkissian. All works are mapped to the historical contingencies of image-sculpture-text through citations from Rosalind Krauss and Jacques Derrida that appear on the checklist. It is this textual counterpart of the physical works that is meant to expand the field of the /resistance/ to both installation work and the traditional mediums of painting and sculpture as formulated by Rosalind Krauss:
Within this situation, however, there are a few contemporary artists who have decided not to follow…the international fashion of installation and intermedia work, in which art essentially finds itself complicit with a globalization of the image in the service of capital. These same artists have also resisted, as impossible, the retreat into etiolated forms of the traditional mediums—such as painting and sculpture.1
1Rosalind Krauss, “A Voyage on the North Sea:” Art in the Age of the Post-Medium Condition (New York: Thames & Hudson, 1999), p. 56.