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Trisha Donnelly from 01 Jul 2016 to 10 Sep 2016

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Trisha Donnelly from 01 Jul 2016 to 10 Sep 2016 TRISHA DONNELLY FROM 01 JUL 2016 TO 10 SEP 2016 Presented in the historic art deco Serralves Villa, this is the second in a new programme of exhibitions that recon- nect with the history of the Villa as a privileged site for artists. In 2016, New York-based artist Trisha Donnelly (1974, San Francisco) will present a specially conceived exhibition that will draw on the unique qualities of the Villa and its relationship to the surrounding gardens. Donnelly is one of the most influential and exciting artists of her generation and the exhibition will be the first time her work will be presented to the public in Portugal. ‘Trisha Donnelly’ is organized by the Serralves Museum of Contemporary Art, Porto, and is curated by Suzanne Cotter, Director. Barshee, Tenzing, “Trisha Donnelly”, Spike Art Quarterly, Issue # 48, Summer 2016, pg. 119-127 BEST OF 2015: STÉPHANIE MOISDON Trisha Donnelly, Untitled, 2014, digital image, dimensions variable. 8 TRISHA DONNELLY (AIR DE PARIS, PARIS) Donnelly exhibitions are rare sightings. This installation of video, projection, sound and drawing created the ex- perience of an elliptical dérive through a world without references-only mirages, vibratile presences, indecipher- able holograms-an emergence of forms as if prehistoric, solitary organisms. Beyond its evident beauty, her unique approach always raises fascinating questions about cod- ing and language, memory and its effacement. Moisdon, Stephanie, “Best of 2015: 8. Trisha Donnelly”, Artforum, December 2015, pg. 233 CRITICS’ PICKS Trisha Donnelly MATTHEW MARKS GALLERY Los Angeles September 26–November 7 by Olivian Cha In Trisha Donnelly’s work the deferral of meaning has become an aesthetic operation—one that extends beyond the site of display and into the systems of production and distribution that surround, and often define, the work of art. While one could identify the works in the show as photographs, videos, and drawings, the artist seems less concerned with anchoring artworks in their about-ness as much as suspending meaning in the margins of what is formally “on view.” Here, unceremonious gestures—an exposed back door left slightly ajar or the hardcover book propping up a projector, for instance—become heavy with potential significance, occasionally inducing frustration but also moments of sublimity. The most poignant example is found in a black tarp that loosely covers a single skylight—the gallery’s main light source. Controlled by the unpredictable choreography of wind, sunlight illumi- nates the room as wavy flicker or trapezoidal planes. If the drastic shifts of light and raw borders of her photographs and projections emphasize the periphery, the edges of Donnelly’s works embody a kind of softness and viscosity. In the frenzied vibrations and globular shapes, the artist’s videos convey the liquid qualities of photographic emulsions and running water—the delicate tremor between darkness and exposure. There is also light jazz. Playing from a speaker-system inelegantly located in a back corner of the gallery, the exhibition’s buoyant soundtrack recalls the cinema of Jacques Tati, set here against airport seats and the video April, 2013, a work that manifests the frenetic rhythm of Paul Sharits’s flicker films but features geometric and diagrammatic forms evoking the electric insides of a sentient scanner. At some point the music momentarily shifts from pleasant melody to a strange spectral noise with sonar frequencies, locating us somewhere between the deep sea and the celestial unknown. Cha, Olivian, “Critics’ Picks”, Art Forum (Online), October 20, 2015 5 Free Art Shows You Should See in L.A. this Week By Catherine Wagley October 14, 2015 A dab of sunshine There’s no press release for Trisha Donnelly’s current exhibition at Mat- thew Marks (the artist rarely releases information about her shows). What you see when you enter the gallery is a minimal, rectangular video involving moving water. It’s projected behind the front desk, and the whole space is mostly dark. Most of the skylights in the main gallery are covered to make it easier to see the off-kilter video, which sometimes resembles a landscape, sometimes a computer program. But periodi- cally, wind will blow up the tarp covering one of the skylights and sun- light will stream in. It's fleetingly thrilling, as it is when clouds part on a stormy day. 1062 N. Orange Grove, West Hollywood; through Nov. 7. (323) 654-1830, matthewmarks.com. Wagley, Catherine, “5 Free Art Shows You Should See in L.A. this Week”, LA Weekly (Online), October 14, 2015 From Oslo with love: Erling Kagge's art collection goes on show ART/ 1 JUN 2015 /BY WESSIE DU TOIT Kagge has a special affinity for artist Trisha Donnelly. Pictured here is 'Untitled' (2007), 'Enamel on fabric,' and 'Portikus, Frank- furt am Main' installation (2010). Photograph courtesy of Astrup Fearnley Museum. Around the waterfront in Oslo, you can experience what the director of Norway’s Institute for Contemporary Art has called the city’s ‘dy- namic moment’. Scaffolding signals a new wave of cultural destinations that will join existing gems such as the Opera House, the ambitious Ekeberg sculpture park, and a high concentration of artist-run spaces. Beside the Oslofjord is the sweeping glass roof of the Renzo Piano-designed Astrup Fearnley Museum, which now houses an intriguing col- lection of contemporary art, titled Love Story. It belongs to Arctic explorer, lawyer, publisher, and all-round thrill-seeker Erling Kagge. Having sailed repeatedly across the Atlantic, conquered the ‘Three Poles’ - North, South, and the summit of Everest - and reached the cover of Time magazine, Kagge began to seek challenges from the world of art. The result is a collection that emphasises youthful anarchy, pop euphoria, and probing post-conceptual artists. Kagge’s collection includes comprehensive bodies of Raymond Pettibon, Franz West, Tauba Auerbach, Trisha Donnelly, Sergej Jenson, Klara Lidén and Wolfgang Tillmans. In a book he has published for the exhibition, A Poor Collector’s Guide to Buying Great Art, Kagge com- pares collecting to his exploits as an explorer. He likes to gamble on artists early in their careers, buying them in big quantities, and moving on when they become established. The main theme of Kagge’s collection is not a theme at all, but an unresolved quality. ‘I find it difficult to love what I understand. Great art to me is strange’, he says, ‘I strongly believe you sometimes have to break rules to feel free’. He likes artists who embody their work, and has a special affinity for Trisha Donnelly: ‘It is as though her personality has taken form’. While most people who turn to collecting because they’ve done everything else have terrible taste, Kagge’s boldness and curiosity have served him well. Du Toit, Wessie, “From Oslo with Love: Erling Kagge’s Art Collection Goes on Show”, Wallpaper (online), June 1, 2015. NUMBER TEN: TRISHA DONNELLY OPENING: 6 FEBRUARY 2015, 7 P.M. DURATION: 7 FEBRUARY 2015 - 31 JANUARY 2016 OPENING HOURS: EVERY SATURDAY & SUNDAY, 11 A.M. - 6 P.M. The JULIA STOSCHEK COLLECTION is pleased to present, in its eighth year, its tenth exhibition with a selection of works by US-American artist Trisha Donnelly (born 1974). The presentation comprises works from the collection ranging from moving image, photography, sound installation to sculpture. The ensemble is creating a space saturated with a potential for transformations and reconfigurations of the senses, of realities. In continually fluid interactions between the material and the immaterial Donnelly generates moments of absolute concentration. March 13, 2015 Trisha Donnelly AIR DE PARIS, Paris January 17- March 14, 2015 No text? At Air de Paris, the press release is nowhere to be seen. This recognizable signature of Trisha Donnelly’s exhibitions is one of various measures to limit the documentation of her work: show and work titles are absent in the gallery space, and the dissemination of images outside it is very limited. This operation challenges a certain routine use of textuality as portal to interpretation. By forcing the viewer to move away from this process, the artist creates the conditions for the autonomy of the exhibition as experience. Stripped of text, the works are barren, and writing about them causes an embarrassing feeling of nudity. Nonetheless, these works call for a certain referentiality, but we have to look into the unbound, slimy matter of our memory in order to activate it. On the night of the opening, viewers strolled in the dim, blueish light of Trisha Donnelly’s videos, the droning chatter of the crowd intertwining with reiterative pings coming from one of them, located at the back of the gallery. Amid the shadows, a drawing on paper (all works untitled; all works 2014) was difficult to discern—a stirrup, or perhaps a stirrup bone. Somebody suggested to come back during the day. Another vision. Light passed through a glass door and the drawing’s lines of graphite became visible. The sound was clear in the gallery; all the colors were different. The significance of the light was tangible. The luminescence of the projected images revealed a structure within the gallery’s architectural planes, just as light, in photographic processing, reveals an image. The images shuffled between a set of visible and invisible layers, reminiscent of one another like bodies are reminiscent of phantom limbs. In the first video, a stream of clouds fades into a backwash of ripples in a trapezoid frame, like an inclined plane mirroring the sky. The same motif is reiterated on the rear wall of the gallery in a wide projected frame with rounded corners, calling to mind a rear-view mirror perspective. The animation of cloud and foam is pasted on top of a pixelated image of white, serpentine shapes, interspersing a long, black-and-white sequence showing an automated “dip-and-dunk” machine in progress, mechanically processing strips of film.
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