Max Andrews essay on Christopher Knowles for NoguerasBlanchard at Liste 2017
Fri, Jul 21 2017
Max Andrews of Latitudes contributed the essay "C-H-R-I-S-T-O-P-H-E-R-K-N-O-W-L-E-S. SO LISTEN UP" about the spoken-word works, "typings", poetry and paintings by Christopher Knowles. The publication was made to accompany his recent solo presentation in the stand of NoguerasBlanchard gallery at Liste art fair in Basel.
Max reviewed Knowles’ exhibition at Gavin Brown's enterprise for frieze magazine back in October 2004, and his work "Untitled (Alert Paintings)" (2004) depicting the Department of
Homeland Security’s Threat Advisory System, was the linchpin of the Latitudes-curated 2007 exhibition "Extraordinary Rendition" at NoguerasBlanchard.
The exquisite short-run publication (500 copies) was designed and printed by Barcelona-based independent publishers and Riso printers Do The Print.
All photos: Latitudes.
Christopher Knowles was born in New York City, USA, in 1959. Lives and works in New York. He has taken part in several exhibitions, among which: 'In a Word', Institute of Contemporary Art, Philadelphia, USA, curated by Anthony Elms and Hilton Als (2015); 'Secret Codes', Galeria Luisa Strina, São Paulo (2014); 'The Sundance Kid is Beautiful', The Louvre Museum, Paris, France, 2013; 'Merci Mercy', 980 Madison Avenue, New York (2013); 'Ecstatic Alphabets/Heaps of Language', MoMA, New York (2012); 'En el primer cercle', Fundació Antoni Tàpies, Barcelona (2011); 'Poor. Old. Tired. Horse', Institute of Contemporary Arts, London (2009); 'Visions of the Frontier', curated by Robert Wilson, Institut Valencia d’Art Modern (2009); 'Glossolalia: Languages of Drawing', Museum of Modern Art, New York (2008); 'Get Lost: Artists Map Downtown New York', New Museum Project, New York (2007); 'Learn to Read', Tate Modern, London (2007); 'Extraordinary Rendition', NoguerasBlanchard, Barcelona (2007).
Knowles' is represented by NoguerasBlanchard, Barcelona / Madrid; Gavin Brown's enterprise, New York / Rome; and Office Baroque in Brussels.
RELATED CONTENT:
- "Extraordinary Rendition" exhibition at NoguerasBlanchard in 2007.
- Latitudes' writing since 2005.
Report from Madrid: Apertura 2014 gallery and museums programme in tweets, 11–13 September
Mon, Sep 15 2014More photos documenting the same shows we saw or others that didn't make it to the twitter for lack of time (or network):
"Antología del desajuste adverbial" by Abigail Lazkoz at Galería Bacelos.
Ángel Vergara at Marta Cervera.
"B. Wurtz.
Works 1972 - 2014" at Maisterravalbuena.
Dora García at Juana de Aizpuru.
Browsing one of the books that hanged from Thonet bentwood rocking chairs at Dominique Gonzalez-Foerster's installation "Spendide Hotel" at the Palacio de Cristal, the venue run by the MNCARS located at the Parque del Retiro.
Related posts:
Report from Glasgow: Lecture at The Common Guild and studio and gallery visits (4 December 2013)
Report from Paris: FIAC week, 21–28 October 2013 (5 November 2013)
Report from Athens: "AGORA", 4th Athens Biennale 2013 (4 November 2013)
Report from New York: Gramcsi Monument, visiting critics at ISCP, Carol Bove at The High Line and galleries route (23 September 2013)
Report from Dublin and Derry-Londonderry: research trip to Ireland, 8–14 March 2013 (16 March 2013)
Report from Urdaibai: commission series 'Sense and Sustainability', Urdaibai Arte 2012 (22 July 2012)
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All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
Articulo sobre 'Rendición Extraordinaria' en ABCD por Arnau Puig
Sat, Apr 21 2007
SAVE THE DATE: Latitudes-curated 'Extraordinary Rendition' opens 22 March, NoguerasBlanchard, Barcelona
Thu, Mar 1 2007
above: Wilfredo Prieto, Grease, Soap and Banana, 2006Private collection, Brussels; Courtesy NoguerasBlanchard, Barcelona
'Extraordinary Rendition'
22 March – 19 May 2007
NoguerasBlanchard, Barcelona
Artists: Mariana Castillo Deball (MX/DE), Gardar Eide Einarsson (NO/US), Rainer Ganahl (AT/US), Carsten Höller (BE/SE), Christopher Knowles (US), Josephine Meckseper (DE/US), Roman Ondák (SK/DE), Wilfredo Prieto (CU) and Natascha Sadr Haghighian (DE)
Curated by Latitudes
Extraordinary Rendition brings together the work of nine international artists in response to notions of risk, frictionlessness and the abstraction of potentialities. It includes work in video, sculpture, audio, painting and drawing.
Following a pre-modern discourse of danger, the emergence of risk – alongside the invention of insurance – proposed a world governed by immaterial markets that were no longer regulated by order, but by fundamental uncertainty, threat and insecurity. For its contextual backdrop, the exhibition attempts to think of the present as a cultural mythology through manifestations and elaborations of this principle. One could cite the orchestration of illusory energy and finance markets, the manipulation of governance and property, or the clandestine rendition of terror suspects. (Correspondingly, the Enron scandal, corruption uncovered by operation Malaya in Marbella, or CIA stop-offs in Palma de Mallorca, for example.) Furthermore, there are the unpredictable mega-weather events or reckless insurgencies that are also symptomatic of an ever more stochastic and violent reality which similarly escapes an ordinary logic of probabilities or worth. Social sensitivity to issues of security are rapidly changing our society. Alongside this global picture, our everyday lives – especially with respect to children – are increasingly subject to a suffocating psychology of risk aversion.
Attempts to render risk – notoriously, the US Department of Homeland Security's colour-coded threat advisory system – are necessarily unspecific and speculative to an extraordinary degree. In an attempt to explore this territory, the exhibition conceives of a platform that is both purely fictional and yet perfectly real, that is completely banal while exceptional, and is potentially valuable yet utterly worthless. Extraordinary Rendition explores multivalent artistic modes – from the journalistic to the comical, the literal to the allusive – within a set-up (the commercial art trade) that is, after all, itself a paradigmatic immaterial/dematerialised market.
For more information, please contact:
Rebeca Blanchard, [email protected]
T +34 93 342 57 21
F +34 93 342 57 22