Anouk Hood: Attachment Unavailable
Dates:
Tue Sep 15, 2015 18:00 - Tue Oct 06, 2015
Location:
New York ,
New York
United States of America
United States of America
Inert is proud to open the new season with Attachment Unavailable, a new solo show by Anouk Hood.
Anouk continues to explore immaterial space in a nomadic monument crafted in white parachute ripstop. Columns lay on the gallery floor in ruins, and are resurrected only when viewed. By the same token, the viewer triggers their destruction, knowing that by looking away they’ll collapse.
Attachment Unavailable is a site non-specific installation that highlights the outdated cache of images that form large swaths of the imagined landscape. Anouk is particularly interested in long periods of visual informational lag, like the gap between the moment ISIS destroyed the temple of Bel, and the moment American media obliterated its image from the western collective consciousness.
In many cases, only after these sites are violently demolished does its image arrive into international popular consciousness. The installation recalls the way in which we resurrect destroyed content simply by (Go)ogling it back into existence. Obliterating a temple does not obliterate all 20 million images of it online, but its image becomes an instant pop icon, memorialized digitally at the moment of destruction.
Oblivion gear will be available during the opening to protect viewers from unnecessary peripheral content. During the show, Attachment Unavailable will also appear and disappear from other real and unreal sites around the world. The nomadic phantom may or may not conjure itself at Inert at the time of your visit, so follow its appearances on inert.co or on Instagram at @anouk.hood.
Anouk continues to explore immaterial space in a nomadic monument crafted in white parachute ripstop. Columns lay on the gallery floor in ruins, and are resurrected only when viewed. By the same token, the viewer triggers their destruction, knowing that by looking away they’ll collapse.
Attachment Unavailable is a site non-specific installation that highlights the outdated cache of images that form large swaths of the imagined landscape. Anouk is particularly interested in long periods of visual informational lag, like the gap between the moment ISIS destroyed the temple of Bel, and the moment American media obliterated its image from the western collective consciousness.
In many cases, only after these sites are violently demolished does its image arrive into international popular consciousness. The installation recalls the way in which we resurrect destroyed content simply by (Go)ogling it back into existence. Obliterating a temple does not obliterate all 20 million images of it online, but its image becomes an instant pop icon, memorialized digitally at the moment of destruction.
Oblivion gear will be available during the opening to protect viewers from unnecessary peripheral content. During the show, Attachment Unavailable will also appear and disappear from other real and unreal sites around the world. The nomadic phantom may or may not conjure itself at Inert at the time of your visit, so follow its appearances on inert.co or on Instagram at @anouk.hood.
Enzo - 1-888-AZHKQOL
Dates:
Tue Aug 18, 2015 16:00 - Wed Sep 02, 2015
Location:
New York ,
New York
United States of America
United States of America
Enzo’s 1-888-AZHKQOL is a series of sculptures that explore capitalism’s inherent threat to itself. The sculptures are inspired by improvised explosive devices (IEDs), used for guerrilla warfare. During the Iraq War, these types of handmade bombs were used against US-led invasion forces, often incorporating benign symbols of Western frivolity like Coke bottles, cigarette packs, water coolers, Blackberries, and pressure cookers. Today, ISIS propaganda videos embody a similar irony with anti-American executions styled like Hollywood blockbusters.
The formal qualities of the sculptures combine the language of bricolage with a contemporary wit that makes them read like designer bombs. Finished with a coat of velvety fibers, they appear simultaneously as retail products and artifacts excavated from the ground. The effect is a moral safety switch that underlines their paradoxical existence as works of art. They’re intended to be detonated, but too precious to blow up.
The starting point for the sculptures was the fantasy of a bomb-maker as sculptor, painstakingly crafting each bomb as a work of art, and heartbroken each time one's destroyed. The works are Enzo’s homage to the complex entanglement of creation and destruction, and the refuge offered by art.
By freezing these explosive devices in time, the works open a host of new questions. For example, a Coke bottle is meant to embody the notion of freedom. Enzo forces the viewer to confront it as potentially destructive, but in doing so also asks: was a Coke bottle was ever innocent in the first place? The politics that fuel capitalism have not been without victims. Enzo activates these paradoxes to explore the contradictions of seduction, triggering internal conflict between attraction and rejection in the viewer.
The formal qualities of the sculptures combine the language of bricolage with a contemporary wit that makes them read like designer bombs. Finished with a coat of velvety fibers, they appear simultaneously as retail products and artifacts excavated from the ground. The effect is a moral safety switch that underlines their paradoxical existence as works of art. They’re intended to be detonated, but too precious to blow up.
The starting point for the sculptures was the fantasy of a bomb-maker as sculptor, painstakingly crafting each bomb as a work of art, and heartbroken each time one's destroyed. The works are Enzo’s homage to the complex entanglement of creation and destruction, and the refuge offered by art.
By freezing these explosive devices in time, the works open a host of new questions. For example, a Coke bottle is meant to embody the notion of freedom. Enzo forces the viewer to confront it as potentially destructive, but in doing so also asks: was a Coke bottle was ever innocent in the first place? The politics that fuel capitalism have not been without victims. Enzo activates these paradoxes to explore the contradictions of seduction, triggering internal conflict between attraction and rejection in the viewer.
Anouk Hood: Wrong Dawn
Dates:
Sat Jun 27, 2015 12:00 - Tue Jul 07, 2015
Location:
New York ,
New York
United States of America
United States of America
Anouk Hood: WRONG DAWN
At dawn the sun looked ill. It wilted as it rose and cast mottled green light on our faces as it set. We watched it slump closer and closer to Earth until finally it crashed at the horizon. We sprinted across the continents toward the sun—but found nothing more than a ragged hole from which cold light shined. On the other side of the hole, there was no light. No sun. No return.
Inert is pleased to present WRONG DAWN, the first solo show by Anouk Hood. The exhibition will present an immersive triptych made from a single massive undulating plane. A half-ton carpet is suspended, sliced, and folded onto itself in parabolic tidal waves, obliterating any sense of figure and ground, space and object.
Three “rooms” are precariously draped into self-referential proto-forms held together by Borgesian physics. The first room of the installation depicts a sluggish sun at dawn, dragging itself against the plane of the sky on its way to noon. In the second room the sun appears real, a crisp surface emanating light from high in the impenetrable atmosphere. The third room of the triptych reveals the back of the sun—a gaping oculus in a structure on the brink of collapse.
The installation evokes a thick, cloying, delirious atmosphere cut and peeled away to reveal immaterial, monumental volumes. The relentless pattern of the carpet cancels itself out as a subject, allowing the voids to emerge as protagonists.
The only images you will ever see again are those in your memory. The content deteriorates rapidly. Over time less and less of it will return to your mind’s eye until the loop becomes an anti-sensory flat tone, indistinguishable from death.
Wrong Dawn was conceived as a commentary on our current hyperlinked atmosphere, echoing the contemporary content desert in which the consumer/viewer is starved for substance and fatigued from sprinting through an enfilade of one "wrong dawn" after another.
Follow Anouk on Instagram @anouk.hood
For PR inquiries or further information, please e-mail studio@inert.co.
At dawn the sun looked ill. It wilted as it rose and cast mottled green light on our faces as it set. We watched it slump closer and closer to Earth until finally it crashed at the horizon. We sprinted across the continents toward the sun—but found nothing more than a ragged hole from which cold light shined. On the other side of the hole, there was no light. No sun. No return.
Inert is pleased to present WRONG DAWN, the first solo show by Anouk Hood. The exhibition will present an immersive triptych made from a single massive undulating plane. A half-ton carpet is suspended, sliced, and folded onto itself in parabolic tidal waves, obliterating any sense of figure and ground, space and object.
Three “rooms” are precariously draped into self-referential proto-forms held together by Borgesian physics. The first room of the installation depicts a sluggish sun at dawn, dragging itself against the plane of the sky on its way to noon. In the second room the sun appears real, a crisp surface emanating light from high in the impenetrable atmosphere. The third room of the triptych reveals the back of the sun—a gaping oculus in a structure on the brink of collapse.
The installation evokes a thick, cloying, delirious atmosphere cut and peeled away to reveal immaterial, monumental volumes. The relentless pattern of the carpet cancels itself out as a subject, allowing the voids to emerge as protagonists.
The only images you will ever see again are those in your memory. The content deteriorates rapidly. Over time less and less of it will return to your mind’s eye until the loop becomes an anti-sensory flat tone, indistinguishable from death.
Wrong Dawn was conceived as a commentary on our current hyperlinked atmosphere, echoing the contemporary content desert in which the consumer/viewer is starved for substance and fatigued from sprinting through an enfilade of one "wrong dawn" after another.
Follow Anouk on Instagram @anouk.hood
For PR inquiries or further information, please e-mail studio@inert.co.
3D artist
Deadline:
Tue Mar 17, 2015 09:45
Location:
New York City,
New York
United States of America
United States of America
We're an art collective looking for a 3D artist for a couple of projects short-term, and with intention of establishing a long-term relationship for freelance work. Our practice revolves around the contemporary sublime, high-end work that takes glitchy post-internet aesthetics towards a Greek ideal / Hollywood finish.
Requirements:
- Strong rendering skills
- Strong animation skills (some movement is required, although not a lot)
- Ability to collaborate and take an idea further
- Art history knowledge
- Familiar with contemporary art
Salary based on portfolio.
Please apply with portfolio and a short intro about your artistic interests to x@inert.co
Requirements:
- Strong rendering skills
- Strong animation skills (some movement is required, although not a lot)
- Ability to collaborate and take an idea further
- Art history knowledge
- Familiar with contemporary art
Salary based on portfolio.
Please apply with portfolio and a short intro about your artistic interests to x@inert.co
