Jakob Kolding: World with Difficulties
Team (gallery, inc.) is pleased to announce a show of new work by Berlin-based, Danish artist Jakob Kolding. Entitled World with Difficulties, the exhibition will run from 22 February through 22 March 2015. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will host Call with Information, an exhibition of new work by Suzanne McClelland.
Jakob Kolding鈥檚 work takes as its subject social, physical, psychological and political positioning. For this exhibition, he has created an installation made up of life-sized wooden silhouettes of people, the fronts of which feature black-and-white prints, while the backs are left unadorned, displaying the structural supports of the birch veneer. Highly recognizable modernist imagery is presented in the manner of shooting gallery targets, 19th century dioramas, carnival cutouts and theater sets. The works are neither purely pictorial nor truly sculptural, and the tension between the expectation and actuality of presentation, between their simultaneous flatness and three-dimensionality, serves to defamiliarize the white cube setting, demanding from the viewer a constant navigation of his own spatial experience.
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Team (gallery, inc.) is pleased to announce a show of new work by Berlin-based, Danish artist Jakob Kolding. Entitled World with Difficulties, the exhibition will run from 22 February through 22 March 2015. Team is located at 83 Grand Street, between Wooster and Greene. Concurrently, our 47 Wooster Street space will host Call with Information, an exhibition of new work by Suzanne McClelland.
Jakob Kolding鈥檚 work takes as its subject social, physical, psychological and political positioning. For this exhibition, he has created an installation made up of life-sized wooden silhouettes of people, the fronts of which feature black-and-white prints, while the backs are left unadorned, displaying the structural supports of the birch veneer. Highly recognizable modernist imagery is presented in the manner of shooting gallery targets, 19th century dioramas, carnival cutouts and theater sets. The works are neither purely pictorial nor truly sculptural, and the tension between the expectation and actuality of presentation, between their simultaneous flatness and three-dimensionality, serves to defamiliarize the white cube setting, demanding from the viewer a constant navigation of his own spatial experience.
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