Margarita Gluzberg: Implicate Factory Outlet
For its second participation in the London Gallery Weekend, Alma Pearl is pleased to present Implicate Factory Outlet, Margarita Gluzberg鈥檚 second solo exhibition with the gallery. The show will feature new works on paper and a sound installation from the ongoing birdsong recording series, the first of which took place at the MAC/VAL Museum, Paris, 2009. Together, these works expand on the artist鈥檚 investigation around consumerism, nostalgia, beauty and desire.
The new drawings, created with Soviet-era pencils from defunct factories, feature abstract dynamic forms that evoke a sense of archival drive through tangible remnants that connect to a deeper sphere of thought, history and time. Meanwhile, the sound installation is built around Gluzberg鈥檚 collection of original 78 rpm shellac/gramophone records of birdsong, the earliest of which dates back to 1910 and features the song of nightingales from Carl Reich鈥檚 aviary. The captive nightingales were originally recorded for commercial distribution with their nostalgic, ethereal and romantic nature turned into something to be consumed.
The exhibition鈥檚 title takes inspiration from the physicist David Bohm鈥檚 metaphysical notion of the 鈥榠mplicate order鈥�, a deeper and more fundamental system of reality. Along these lines and functioning as physical manifestations of a hidden or past reality, the nightingales鈥� resurrected song evokes a past ever so slightly erased in each playing. Likewise, the collected pencils are both equally manifest and consumed in a circular process of production and destruction that arrives at a work and structures a practice.
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For its second participation in the London Gallery Weekend, Alma Pearl is pleased to present Implicate Factory Outlet, Margarita Gluzberg鈥檚 second solo exhibition with the gallery. The show will feature new works on paper and a sound installation from the ongoing birdsong recording series, the first of which took place at the MAC/VAL Museum, Paris, 2009. Together, these works expand on the artist鈥檚 investigation around consumerism, nostalgia, beauty and desire.
The new drawings, created with Soviet-era pencils from defunct factories, feature abstract dynamic forms that evoke a sense of archival drive through tangible remnants that connect to a deeper sphere of thought, history and time. Meanwhile, the sound installation is built around Gluzberg鈥檚 collection of original 78 rpm shellac/gramophone records of birdsong, the earliest of which dates back to 1910 and features the song of nightingales from Carl Reich鈥檚 aviary. The captive nightingales were originally recorded for commercial distribution with their nostalgic, ethereal and romantic nature turned into something to be consumed.
The exhibition鈥檚 title takes inspiration from the physicist David Bohm鈥檚 metaphysical notion of the 鈥榠mplicate order鈥�, a deeper and more fundamental system of reality. Along these lines and functioning as physical manifestations of a hidden or past reality, the nightingales鈥� resurrected song evokes a past ever so slightly erased in each playing. Likewise, the collected pencils are both equally manifest and consumed in a circular process of production and destruction that arrives at a work and structures a practice.
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