From December 4-7, 2014, P! will present Moniker, and Rod Barton Gallery will present Bas van den Hurk at NADA Miami Bach.
P! is pleased to feature Moniker and Philippe van Snick at NADA Miami Beach 2014. Pitting two disparate sets of work against one another – a generative and participatory sticker installation versus a selection of older conceptual works on paper – the booth presentation frames contemporary ideas of interaction within a broader historical context, while also highlighting intersections between different modes of visual practice. Through this multidisciplinary approach, P! explores how systems may take on a life of their own, breaking out of the art fair booth into the world-at-large.
Moniker, an Amsterdam-based design collective founded by Luna Maurer, Jonathan Puckey, and Roel Wouters, premieres Ultramarine Fungus (2014). This is the newest in a series of interactive, physical installations that have previously been presented at the Stedelijk Museum Amsterdam (2008), LABoral Center for Arts and Science (2010), the Graphic Design Museum Breda (2011), Netherlands Media Art Institute (2012), as well as other international venues in Asia and Latin America. Similar to Moniker’s many projects exploring the social and public efforts of technology, “fungus” are interactive installations executed by a large group of people. Participants are given a sheet of four stickers and are asked to affix these to a designated area – floors, walls, and other surfaces – according to a set of simple instructions. The repetition of these tasks by many people leads to a complex and unique image. In the context of an art fair, this metaphorical “fungus” will occupy unexpected spaces, growing in surprising ways to colonize the venue.
Rod Barton Gallery will present a solo booth with recent work by Bas van den Hurk. The artist combines and manipulates multiple spatial coordinates through different mediums in a given context, most often an exhibition room. In an era where the potential to make new remarkable gestures seems exhausted, he instead productively researches discursive networks, modes and models of painting and manual (re)production.
Bas van den Hurk’s practice circles around questions of the possibilities of painting today. For him painting functions in a permanent tension that on the one hand strives for radical autonomy, and on the other is aware of the fact that it is part of a heteronymous network of texts, modes of production, and commodifications.
Van den Hurk works often look fragile and vulnerable. In his latest works he explores textile painting and (collaborative) silk screenings on diverse materials such as fabrics, paintings, and self designed posters made into interstices between painting, fashion and printing. Works are displayed not only on walls and floors, but also on sculptural and hangin devices.