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02.02 28.04 Ellen Gallagher & Edgar Cleijne Liquid

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02.02 28.04 Ellen Gallagher & Edgar Cleijne Liquid EN ELLEN GALLAGHER & EDGAR CLEIJNE LIQUID LIQUID INTELLIGENCE 28.04 02.02 Ellen Gallagher is one of today’s most The exhibition’s title Liquid Intelligence prominent artists. She was born in port is borrowed from an essay by conceptual city of Providence, Rhode Island, USA, artist Jeff Wall. It alludes to the chemical, in 1965, and works and lives between transformative process of analogue Rotterdam and New York since 2003. photography, the quasi-controlled process of the darkroom, involving This exhibition is a first survey in the liquids and washing, in opposition to Lowlands of Gallagher’s painterly notions of transparency and proof production in some twenty works, shown associated with modernist documentary together with two of the collaborative photography. The intelligence of GALLAGHER film installations made together with liquid environments and aquatic, Edgar Cleijne. As such, it is a unique marine transformations touch upon moment for the WIELS audiences to the aesthetic of much of Gallagher’s WORKS THROUGH discover a practice which is cherished and work: the biomorphic obscured worlds discussed in the framework of decolonial of the submarine and bio-molecular and Anthropocene debates worldwide. traces of millennial histories. The Gallagher works through popular film installations by Gallagher & POPULAR narratives and mythologies of African Cleijne capture the disruptions of the American histories while also challenges technology and engineering that the paradigms of modernist painting, such as Anthropocene imposes on the planet. objecthood, frontality or transparency. NARRATIVES AND She opens them up with techniques of fragmentation, carving and layering which introduce means of perception that address opacity, embodying, memorizing MYTHOLOGIES and the fluid interchangeability of materials and beings. OF AFRICAN AMERICAN HISTORIES WHILE ALSO CHALLENGES PARADIGMS OF MODERNIST PAINTING Check the if you visit the exhibition with kids ❶ Black Paintings: In his text Poetics of Relation (1990), the Dance you Monster I, Dance you writer and philosopher Edouard Glissant Monster II, Untitled, Kapsalon Wonder, explores the colour black and the notion Kapsalon Phantasie, Eleganza, Negroes of opacity as a form of unknowability. battling in a Cave For this reason, opacity has the radical potential for social movements Over the course of several years, to subvert systems of domination. Gallagher produced monochrome Glissant demands the right to opacity: paintings that investigate blackness as the oppressed should be allowed a colour and a subjectivity, a selection to be opaque, to not be completely of these are shown here. Materiality understood, but to simply exist as and embeddedness are central to her different. Gallagher says of these works: practice, and the technique she develops “I’m really interested in this idea of a to make her work reveal this. She first black inscrutable. The black paintings adheres a loose grid of penmanship were in a sense a reaction to how people paper to the canvas and layers it with were reading or misreading the work … I torn and painted pages from magazines really see the black paintings as a kind of intended for Black audiences. She refusal. Even when reading them – if you incises the surface with a blade and then stand in front of them they go blank and moulds black rubber over the surface. then if you stand at the side you see only Finally, she coats the surface with high- a little.”1 gloss enamel where little is immediately revealed apart from the glossed Kapsalon Wonder (2015) is comprised reflection of the viewer consumed into of open forms, disembodied braids darkness of the surfaces. Gallagher and clusters of hair. ‘Kapsalon’ means turns rubber, paper and enamel into a barbershop in Dutch but is also the name black mirror of American materialism, of popular Rotterdam street-food with transforming the pictorial gesture into African and Middle Eastern origins. an archaeological or alchemical process The diptych Dance You Monster (2000) of adding, extracting, resurfacing. features abstract forms that are parts of landscapes borrowed from the early- twentieth-century cartoonist George Herriman, whose Krazy Kat comics have been a recurrent source of inspiration for Gallagher. 1 FLOOR + 3 + FLOOR Ellen Gallagher geciteerd in Morgan, 2001, p. 26–7. of Interstate 10, the Claiborne neutral ❷ ❹ ❻ ground was a lush, oak canopy-covered Negroes Battling in a Cave (2016) Watery Ecstatic (2001 – ongoing) An Ecstatic Draught of Fishes (2018) corridor lined with Black-owned is a recent group of four paintings. In this delicate series, Gallagher carves Gallagher’s most recent work, made businesses on either side. Their provocative title is a citation of into the pulp of thick watercolour paper, a especially for this exhibition, translates handwritten marginalia found during the technique that she refers to as her version the underwater world imagined by the Today, while spliced by the interstate, restoration of one of Kazimir Malevich’s of scrimshaw: the practice of engraving Detroit-based electronic music duo it is a popular gathering place during iconic Black Square painting. Taking the bones and teeth of marine mammals Drexciya, inhabited by the descendants of Mardi Gras and Second Lines. Cleijne Russian Suprematism as a target, by whalers. The art historian Robin D. G. the Africans who were thrown overboard and Gallagher’s installation is comprised Gallagher challenges early Modernism’s Kelley – who has long followed Gallagher’s from slave ships, such as the Zong, during of a 16mm film created along I-10 in self-proclaimed purity with her own take work and contributes a new text to the its crossing or ‘Middle Passage’ of the New Orleans and beyond, that traces on Malevich’s Black Square, believed to forthcoming WIELS catalogue – describes Atlantic in 1781. the highway as it sweeps from Claiborne be the first ever monochrome abstraction. Watery Ecstatic thus: “Dream-like, avenue soaring over and into the surrealistic drawings evoking exotic fish, Atchafalaya waters near Lafayette, How many colours can you see in the submarine creatures and organisms like Louisiana; and banners based on 70mm works? Is black a colour, according eels, jellyfish, ancient sea creatures and ❼ cyanotype celluloid film negatives. Highway Gothic (2017) to you? strange vegetation. We encounter the These refer simultaneously to early This monumental film installation familiar: disembodied eyes, wigs and lips photographic studies of natural history examines the impact of Interstate attached like barnacles, the masked and specimens and to the murals that Position yourself at different spots Highway 10 on humans and nature. unmasked faces of African people.”2 were painted on the highway’s support in the room. Do you always see the The title refers to a standard columns by the New Orleans African same thing in the paintings? font used for US road signs. The American Museum’s project Restore the installation has been exhibited in New Oaks (2002). 4 ❺ Orleans, Stockholm, Toronto and is Morphia (2008-2012) expanded and adapted for WIELS. ❸ How many different materials can DeLuxe (2004-2005) The series Morphia combine the intimate Highway Gothic uses the Claiborne you see around you? DeLuxe is a portfolio of sixty individually- with the epic, the urban with the oceanic, corridor as a physical and conceptual framed artworks. They feature the ethereal with the physical. The works framework through which to consider advertisements for beauty products emphasize how Gallagher’s shape-shifting Are they connected to one another? the loss of history and culture in New taken from magazines from the 1930s signs bring materiality to both natural and Orleans’ historic 7th Ward and Treme to the 1970s aimed at African American social histories. These hybrid symbols neighbourhoods; highlighting problematic consumers, such as Ebony, Our World evolve and mutate in relation to the urban planning practices, such as the and Sepia. Gallagher has cut and layered viewer’s perception, resembling organic development of the Interstate Highway the adverts, adding plasticine to depict forms such as cells and marine creatures System in the United States in the late the eyes and hairstyles of the models. while also evoking various iconographies 1950s. The implementation of these With the title, she draws ironically on from Africa and its diaspora. Gallagher huge infrastructural overhauls took their the language of advertising to subvert asserts that “a character like a jellyfish toll on urban Black communities, which its original intentions; the word ‘deluxe’ can be made up of several bodies, can were often displaced to make room for appears in various spellings and fonts in exist in different times, can be a character the highways. Prior to the development different places in the work. that is symbolic”.3 GALLAGHER BRINGS MATERIALITY TO BOTH NATURAL AND SOCIAL 2 Robin D. G. Kelley, catalogue Gallagher/Cleijne, WIELS, April 2019. 3 Ellen Gallagher, geciteerd door het Art Institute of Chicago, tentoonstellingsgids 'Are We Obsidian?', 2018 HISTORIES 4 Edgar Cleijne, 2017 ❽ Osedax (2010) The work evokes whale fall – the scientific The centre of this installation is a 16mm term for dead whales that have fallen film projection, which opens with a shot to the ocean floor and are consumed of a recent shipwreck off of the coast by scavengers – and flows between the of Rhode Island. The wreck appears to film and the painted glass slides. Edgar have been abandoned to slowly dissolve Cleijne evokes the fluid, multi-layered into the sea. As the force of the elements references to Moby Dick in the work: takes hold of the ship, it becomes an “The dark surrounding walls of the intermediary zone. Cormorants alight projection room are milled with marks on the ship's stays to dry their wings in that map the descent of the whaleship the air. For them the ship is an extended The Pequod into the ocean depths. The landscape rather than a gruesome end.
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