20 A3114

Elad Lassry

日期
10.04.2015 | 01.05.2015
地址
Massimo De Carlo, Milano

On April 10th Massimo De Carlo gallery presents a new solo exhibition by Elad Lassry. The exhibition unveils a series of new works that synthesize the artists last few years of research, challenging for the second time the industrial space of Massimo De Carlo’s gallery in via Ventura.

At the core of these new works is an inquiry into what engagements are possible with the picture, as well as a questioning of the picture’s condition, capacities, and failures as a contemporary unit. Elad Lassry resorts to questioning the picture itself as an entity, as well as an unresolved space of representation, bouncing back and forth between an acknowledgement of the picture as an image-based unit to a treatment usually reserved for an object. In doing so, the artist challenges the picture’s given status of flatness, allowing at times, the participation that occurs between the picture and multiple agencies, economies, and systems to take on an actual form.

These works take further Elad Lassry’s philosophical proposal where the image oscillates between its picturehood and objecthood, to an almost literal space. This idea is rooted in an exercise of dismantling the photograph, where its indexicality is lost, leaving it stripped of its details and down to formal elements only.

Elad Lassry is interested in the use of analog methods in exposing contemporary phenomena - one of fluidity, elasticity, and new opportunities for experience with the picture. These strategies in the work relentlessly ask the viewer to abandon the act of deciphering between photographic information and visible marks, or objects (non-photographic information). For example, in a new body of works titled Untitled (Swimmers), 2015, Elad Lassry turns to an industrial technique in which a set of silver gelatin prints, beads, and pigments are embedded within acrylic glass. While obscuring the translucence of acrylic glass, each element is married to a different art history – the tropes of black and white photography versus the gestures, marks, and compositions in the plastic arts.

Elad Lassry

埃拉德·拉斯瑞1977年生于特拉维夫,目前工作生活在洛杉矶。


埃拉德·拉斯瑞从大量来源中创作并重新发掘图像,将其部署到多种媒体中,包括摄影、电影、绘画和雕塑。


拉斯里将其比例相同的图像描述为“悬浮在雕塑与图片之间”。艺术家不断操纵虚拟和实际的空间。每幅图像都建立了一个虚拟空间,框架并非图像的补充,而是作为延伸,为其开辟一个实际空间。拉斯里将图像部署为一个模糊并能自由浮动的标记,与框架相结合,创造出新的组合条件。此类混合实体变成一种认识论难题,吸引观众的感知能力。其对象性如何影响我们对图像的阅读?图像的主题又如何影响我们对物体的感知?


拉斯里的作品被众多机构永久收藏,包括:纽约现代艺术博物馆;古根海姆博物馆,纽约;沃克艺术中心,明尼阿波利斯;惠特尼美国艺术博物馆,纽约;洛杉矶当代艺术博物馆,洛杉矶;芝加哥艺术学院,芝加哥。

Lassry Portrait 01