Exhibition View

Exhibition View

Exhibition View

Exhibition View

Exhibition View

Exhibition View

In tone and subject, acrylic on canvas, 210 x 140 x 4 cm, 2012

A striking departure, acrylic on canvas, 210 x 140 x 4 cm, 2012

From the earlier books, acrylic on canvas, 210 x 140 x 4 cm, 2012

I just want to know I can see through your mask, 1987 by Aston Earnest, acrylic on canvas [painting of woman], 80 x 51 x 2.8 cm/[painting of foot] 51 x 51 x 2.8 cm, 2011

Just, acrylic on canvas, 106 x 80 x 3.5 cm, 2011

If I could find the words, mixed media, 13 x 70 x 13 cm, 2011

Investigation #61, An ideal dilute (Vincent in the vines), 3 wall mounted rub down transfers of drawings from the artist's notebook, 65 x 30 x 65 x 30 cm, Ed. of 5 + 1AP, 2008

Self Portrait XII, 31 30 cm diameter circles of toughened glass and paint, 225.6 x 272.4 x 4 cm, 2012

Self Portrait XII, 31 30 cm diameter circles of toughened glass and paint, 225.6 x 272.4 x 4 cm, 2012

Self Portrait XII (detail), 31 30 cm diameter circles of toughened glass and paint, 225.6 x 272.4 x 4 cm, 2012

The way things collide (picture crate meet museau), carved wood, 80.5 x 70.5 x 20.7 cm, 2012

The way things collide (picture crate meet museau), carved wood, 80.5 x 70.5 x 20.7 cm, 2012

The way things collide (picture crate meet museau) (detail), carved wood, 80.5 x 70.5 x 20.7 cm, 2012

The way things collide (picture crate meet museau) (detail), carved wood, 80.5 x 70.5 x 20.7 cm, 2012

The way things collide (picture crate meet museau) (detail), carved wood, 80.5 x 70.5 x 20.7 cm, 2012

The marking on the floor that suggest the evidence of a struggle, scuff marks on the floor, dimensions variable, 2009

The marking on the floor that suggest the evidence of a struggle, scuff marks on the floor, dimensions variable, 2009

The marking on the floor that suggest the evidence of a struggle, scuff marks on the floor, dimensions variable, 2009

Ryan Gander

An Exhibition of Recent Paintings

October 27 – December 1, 2012

David Risley Gallery is proud to present Ryan Gander, An Exhibition of Recent Paintings.

Gander is among the most important practitioners of conceptual art in the world today. Gander’s expansive practice has been the subject of exhibitions including the Venice Biennale, dOCUMENTA 13, Palais de Tokyo.

Gander's work exhibited at dOCUMENTA 13 was highly prominent despite being either invisible, hidden or played by anonymous actors. A gentle breeze blew through the whole ground floor of the Fridericianum, a...
n actor took on the role of a scriptwriter sitting anonymously in the café of the Orangerie and a sculptural work was hidden under ground in the woods.

His exhibition at David Risley Gallery will be called 'Ryan Gander, An Exhibition of Recent Paintings'.

Has he, in his words, ‘gone all hippy and painterly’?

Gander's art is concerned with context. At dOCUMENTA, a setting ripe for conceptual art, his work, though invisible, was highly present. A natural fit. Perhaps within the context of this gallery a painting exhibition performs similarly. His work, chameleon like, changes appearance to fit its surroundings. The façade may change but the conceptual underpinning remains the same.

This show uses the physical attributes of a painting exhibition to deal with concerns other than those of painting. Gander presents us with all the component parts of an exhibition of painting, a lightbox gallery sign, packing crate,
palettes and paintings. He made a self portrait every day for year, showing only the palettes used to mix the paint. We will present Self Portrait XII, 31 circular glass palettes from August 2012 wall-mounted in a grid, the last work from this
series. There will be 3 large paintings, which are realisations of paintings featured in Tintin and Alph-Art, the final and unfinished book from the comic strip series created by Hergé. Another work, Just, which looks like a neo-geo
painting is actually an oil painting of a glitch from a quicktime video of the artist. The way things collide (picture crate, meet museau), is a partially exposed and seemimgly unfinished carving of a transport crate with a pig's snout on top, hewn from a single block of wood. The crate is the correct dimensions to be used to transport Gustave Courbet's L'Origine du monde. I just want you to know I can see
through your mask, 1987 by Aston Ernest, 2012, consists of 2 oil paintings, which are reproductions of two paintings which appear in the film The Rebel. A lightbox sign renames the space. Marks on the floor show evidence of a struggle within the gallery.

Gander’s work wears the mask of art history, in this instance using painting as a Trojan Horse to smuggle his conceptual narratives into the gallery.

Ryan Gander is an artist living and working in London and Suffolk. He studied at Manchester Metropolitan University, UK, the Rijksakademie van Beeldende Kunsten, Amsterdam, NL and the Jan van Eyck Akademie, Maastricht, NL. Recent projects include Esperluette, Palais de Tokyo, Paris, FR; dOCUMENTA (13), Kassel, G; Boing, Boing, Squirt, Museo Tamayo, Mexico City, MX; Locked Room Scenario, commissioned by Artangel, London, UK; Really Shiny Things That Don't Mean Anything, Trybuna Honorowa, Plac Defilad, Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw, PL;
ILLUMInations at the 54th International Art Exhibition of the Venice Biennale; Intervals at Solomon R. Guggenheim Museum, NYC, US and The Happy Prince, Public Art Fund, Doris C. Freedman Plaza, Central Park, NYC, US.