52 Walker opens an exhibition of works by Nikita Gale

The First Art Newspaper on the Net    Established in 1996 Thursday, March 28, 2024


52 Walker opens an exhibition of works by Nikita Gale
Nikita Gale, END OF SUBJECT, 2022 (detail). © Nikita Gale. Courtesy the artist and 52 Walker, New York.



NEW YORK, NY.- 52 Walker is presenting its second exhibition, END OF SUBJECT, featuring the work of Los Angeles–based artist Nikita Gale. Engaged with the history and politics of sound and its surrounds, Gale presents an aurally and visually rich environment in the gallery, complete with light and sound, which calls upon the tacit agreement between the audience and the materials that enable the act of viewing and experiencing. Through the artist’s multidisciplinary approach, Gale recasts and destabilizes notions of witnessing, visibility, and representation that operate both inside and outside of the space as well as within and among our bodies.

As with Gale’s previous projects PRIVATE DANCER, presented at the California African American Museum, Los Angeles, in 2021, and AUDIENCING, at MoMA PS1, New York, in 2020, END OF SUBJECT proposes an intervention within 52 Walker’s architectural confines that engages the ideological apparatus and technological infrastructure of performance. The artist probes how a performance might be constituted in the absence of the human figure while reconfiguring the production of the experience of presence as it is mediated by the physical body—via such mechanisms as lighting, staging, atmosphere, and sound, as well as expectations shaped by existing social and political systems.

END OF SUBJECT considers the phenomenological limits of performance, how spatial hierarchies are stratified, and how transcendence and immanence are embodied by audience members. Here, Gale establishes bleachers as a kind of shorthand for the intersubjective act of witnessing: across the gallery, six sets of aluminum bleachers are distributed; three sets are violently crushed and made unfit for seating. Stage lights are mounted throughout the space, occupying some places in which the spectator would normally be present. A lighting program, automated by a show control system designed in collaboration with lighting designer Josephine Wang, shifts the site between dormant and active states. A synchronous four-channel audio installation features an original theme by composer Tashi Wada.

Reflecting on the material limits of ideology in END OF SUBJECT, Gale assumes the cycle of destruction and creation proposed by the framework of abolition. The exhibition attempts to instantiate the symbolic turning point of rupture in which both ruins and new social relations are formed. This trace evidences the physical and the ideological that continues to radiate after the annihilation of institutions, marking and formalizing the vestiges of the infrastructures that once prevailed. Drawing from a formal training in archaeology, the artist captures the moments in which the resonances of the destruction incurred linger and relations between subjects are challenged.




The exhibition will include a series of six drawings on aluminum panels, which also mark presence by creating an absence on the surface through processes of extraction. Gale etches words onto the smooth metal that move from quantitative to subjective descriptors and mounts mini spotlights onto their reflective exteriors. The artist envisions the thin metal layer as the protective interface between human beings and technology, shielding the physical body from technology or from the environment when encountered.

Moving away from the pop-performance aesthetics of Gale’s previous presentations, END OF SUBJECT regards the particular experiential parameters of the sculptural in the visual and aural realms by focusing on the physical site and its infrastructure. As Gale has inquired, “What lies between the bodies and the sounds and the stage and the lights—what are we to each other in the act of witnessing? What have we agreed upon through the mere act of showing up?”1

Clarion, the 52 Walker publication series from David Zwirner Books, will release a fully illustrated catalogue that will accompany the exhibition, featuring contributions by gallery director and curator Ebony L. Haynes as well as Daphne Brooks, Andrea Fraser, and Harmony Holiday.

Born in 1983 in Anchorage, Alaska, Nikita Gale received a BA from Yale University, New Haven, in 2006, and an MFA from the University of California, Los Angeles, in 2016. Gale also attended the prestigious Skowhegan School of Painting and Sculpture, Madison, Maine, in 2019. In 2022, Chisenhale Gallery, London, will present Gale’s first European solo exhibition. The artist has had other notable solo exhibitions and commissions at institutions such as the California African American Museum, Los Angeles (2021); Anchorage Museum, Alaska (2021); MoMA PS1, New York (2020); Coaxial Arts Foundation, Los Angeles (2019); The Visual Arts Center at The University of Texas at Austin (2019); Atlanta Contemporary Art Center (2018); and The Front, New Orleans (2013). Gale is represented by 56 Henry, New York; Reyes|Finn, Detroit; and Commonwealth and Council, Los Angeles. The artist resides and works in Los Angeles.

1 Nikita Gale, “Slow Ruin,” Texte zur Kunst (August 26, 2020), accessed online.










Today's News

January 23, 2022

Drawing, a cure for the January blahs

Exhibition provides European viewers with a rare opportunity for an in-depth exploration of Georgia O'Keeffe's work

Louisiana Museum of Modern Art features drawings by avant-garde architect Sir Peter Cook

Eden Deering started her art career at 8

Samara Golden is spilling her 'Guts'

'Star Trek' auction filled with costumes, models and props warps to Heritage Auctions in February

Exhibition of new paintings, drawings, and photographs by Ed Templeton opens at Roberts Projects

The UK's largest touring exhibition British Art Show 9 opens in Wolverhampton

AstaGuru presents a celebration of global history and heritage with the second edition of 'Opulent Collectibles' auction

52 Walker opens an exhibition of works by Nikita Gale

CCA Tel Aviv opens the first solo presentation in Israel of works by Enrique Ramírez

Overlooked no more: Lee Godie, eccentric Chicago street artist

Mulyana's first solo exhibition at Sapar Contemporary opens in New York

Rare medal from the first modern Olympic Games sells for $88,580 at auction

Clarke Auction Gallery offers cure for winter blues at 'Awesome' Feb. 6 auction

Saatchi Gallery explores decades of social change in the U.S. with exhibition

Fontaine's Auction Gallery to offer fine & decorative arts at auction

A reimagined 'Long Day's Journey Into Night' for the COVID era

At Sundance, two films look at abortion and the Jane Collective

In 'Whisper House,' the living are the pawns of the dead

Debbie Gibson goes shopping for vinyl records

A new coalition amplifies disability culture in the music industry

Ann Arensberg, insightful novelist of mysteries and manners, dies at 84

Racial turmoil mars signs of progress at the U.S. Mint

Top 5 tips for finding the best online casino

Unique Valentines Day Gift Ideas for Him

What Does Agriculture Mean?




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful