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Template for: Who said this was true multiplicity anyway?

Ryan Gander

22.09.2006 | 22.10.2006
Massimo De Carlo, Milano
In the work of Ryan Gander objects, installations and manipulated situations hide more than revael reality, all of them attempt to integrate into their chosen environement, without emphasis. The search of discrection seems to play an important role: if you approach a work of art in a neutral space it is not implict that it has a particolar meaning. The artist always acts a sort of camouflage and a mimetic process to undermine the obviousness of reality’s appearance.Work A - The Grand National, 2005 A box of 5000 A5 off-white newsprint 49 grams, black text offset printed on one side only flyers advertising for a fictional writing syndicate. Freely available for visitors to take away until the box is depleted Work B - Vivi is Dead, 2005 Two cardboard cartons screen-printed with the identity of a fictional publishers, ten slides containing the range of colours from the ‘Sony test screen’ and a roll of parcel or gaffa tape. Installed in a fully black-carpeted room. Each time the work is to be installed, the cardboard cartons should be assembled and sealed with a new tape different from the last, this tape is the tape that should be then left on top of the cardboard cartons, as if to reveal its exhibition history. Work title relates to a fictional character known to be an author from the ‘Death is all around me’ trilogy of works. Work C - Happenstance, 2006 Eighty-four frames measuring approximately 30 x 21 cm, each containing two pages torn from a novel. The entire work represents a 168 page work of fiction. All pages in all frames excluding four are left blank. Thetext is two random pages from a book Entitled Deciphering Happenstance’ written by the artist. The text although is visibly a snippet half way through a narrative, it does in ways talk about (under the camouflage of an unrelated story) ideas surrounding framing and disappearance. At one point in the text the reader is brought face on to the reality of the work, by reading a passage that users an analogy of the ‘rest of the pages of this book’. The text ends with a mission directive that one would usually expect to find in a teenagers ‘Choose your own adventure book’, the text reads ‘If you choose to walk into the cave turn back to page 18,if you choose to follow the trail back to the hotel turn to page 168’ (Page 168 being the last page of the book). Work D - An Incomplete History of Neon, 2006 As you approach the entrance to the main space you notice that down one side of the gallery there is tiny particles of broken glass in a variety of colours on the floor. Along the wall to the left as you enter the space, running around the corner and along the adjoining wall on the left is electrical cabling, a series of power transformers and scorch/burn marks in various places along the wall. It becomes apparent as you enter the space that you are looking at an exploded neon art work. In fact it turns out as you read the work title (An Incomplete History of Neon) that the burn marks and the glass represent eleven neon art works from the years1976 to 2006 in 3 year intervals. This work will appear to be one complete sign running from one power source with one power cable feeding all 11 individual signs, the current of which has overloaded the apparatus and explode the glass as a result