KIM YE – SPORTSWOMAN

Posted on 2015-11-23

Ye’s oeuvre can be seen as reflections and manifestations of how the mind and, integral to this, the body responds to preordained constructs such as behavioral norms, human-made environments, and collective rituals. Acting within and pressing against the pressure towards orthodoxy, Ye’s work describes the latent psychic forces that provoke an individual’s desires to experience the strange, the new, and the unexplored.

For the current project, Ye directs her attention to ideas and objects specifically related to sports and athletic training–locating their analogs in artistic practice and BDSM culture. All rule-based disciplines, they constitute a significant role in the artist’s personal history as competitive athlete, visual artist, and professional dominatrix. In each of these fields, there is the expectation that participants acknowledge and operate by an agreed-upon code, though it is often in transcending or bending this very code that one emerges victorious.

Themes of discipline, mastery, endurance, and power exchange run through the show. Taking into account the gendered experience of the athlete/artist/dominatrix, Ye examines how these delineations within the quest for personal glory informs one’s concept of self and reverberates through interpersonal dynamics. The work questions whether this ritualistic practice/training is in preparation for competition, or if the very notion of competition itself is a collective fiction that facilitates practice.

Opposite – Athleisure, 2015

Exhibition runs through to January 17th, 2016

JAUS
11851 La Grange Ave
Los Angeles
CA 90025

www.jausart.com

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COREY BARTLE-SANDERSON – HOMEWARE_UPDATE

Posted on 2015-11-23

Artist’s Statement:

The inexpensive but highly valued material foundations of my photographs, (aka Beer Feet et al) will no doubt persuade you to invest your emojis in expanding my rapidly dwindling life resources. That’s not corporate thinking, its corporeal. C-type stands for affect enhancing qualities, AKA Feel more and think more purposively as a direct consequence. Discourses which privilege the object over the image miss the fundamental point that the image is no less an object than the object would have been if I hadn’t thrown it away. Although both trashcans are full, I have decided that despite the marginal and at times imperceptible difference in quality that distinguishes them, some of my objects should not in fact be drag and dropped, but rather elevated to a fetish-not-withstanding commodity form. Used here, the phrase ‘commodity form’ refers to the kind of experience from which we are all as yet unable to detach ourselves but through which various anomalies arise and come to appear as systemically disruptive and potentially meaningful. Whilst ‘the artist’ acknowledges that such potentially transformative anomalies will and probably already have been both captured and put to work within the ‘money-making-machine’, he nevertheless upholds the view that the MMM, (sometimes referred to as the Subject) is not, and cannot be, fully cognizant of its modus operandi and that as a consequence, certain residues of his materials, thoughts, actions and affects survive the apparatus which would otherwise employ them for its own ends. Ultimately the artist hopes that his work, or at least elements of it, will thus contribute to the feelings of wellbeing that most of us feel from time to time and which, if directed in a mindful and egalitarian way, help to enhance our capacity to form genuine not-for-profit relationships with material, image-based and living human objects.

Opposite – HOMEWARE_update, 2015

Exhibition runs through to January 23rd, 2016

Block 336
336 Brixton Road
London
SW9 7AA

www.block336.com

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