En Face
Installation View: Martin Murphy and Lisa Lindvay
Glen Fogel, Call Me And We Can Buy Love Together
Lisa Lindvay, Ryan and Nick in Their Bedroom 2016, archival inkjet print 32”x40”
Lais Pontes, Self and Other
Michal Samama, Walling 2014, performance
En Face
Glen Fogel, Lisa Lindvay, Martin Murphy, Laís Pontes, and Michal Samama
01.21.2017 – 02.25.2017
Aspect/Ratio Projects is pleased to present En Face, engaging with the genre of portraiture and investigating fissures between embodied and virtual identities, subjectivity, and familial relationships. En Face extends beyond the notion of the portrait as a detailed description of something or someone. This exhibition traces the poetic and subversive use of the portraiture through works by Glen Fogel, Lisa Lindvay, Martin Murphy, Laís Pontes, and Michal Samama.
Glen Fogel’s Call me and we can buy love together consists of a series of re-photographed and cropped images of defaced advertisements in New York City subways. The work highlights a form of commercial communication and an interplay between the viewer and imagery in the urban realm. In a similarly radical gesture, Lisa Lindvay reveals the notion of family and its complicated entanglements to individual identities. The artist portrays her brothers embedded within the psychological atmosphere and domestic space that they share with their mother.
Obscuring the portrait, Martin Murphy pours a liquid newscast over his head in Today’s Face as gravity directs both the paint and the progression of a news feed continuously downward. The viewer sees the video from the perspective of a user who is watching through the vantage point of a webcam. Whereas Laís Pontes’s Self and Other addresses both single persona and multiple identities. Self and Other is oriented towards both the individual and the collective, and its construction that is both stable and in flux.
Michal Samama heightens this encounter in performance stills where she creates new portraits with the physicality of her body and the materiality of the performance space. By touching, exploring, and relating to the verticality and horizontality of the performance host space, Samama constantly creates new portraits.
- Marina Cavadini
Click Here for Press Release PDF version
Press & Highlights:
･ Blouin Artinfo, 02.19.2017
･ Visual Art Source, 02.03.2017
Glen Fogel’s Call me and we can buy love together consists of a series of re-photographed and cropped images of defaced advertisements in New York City subways. The work highlights a form of commercial communication and an interplay between the viewer and imagery in the urban realm. In a similarly radical gesture, Lisa Lindvay reveals the notion of family and its complicated entanglements to individual identities. The artist portrays her brothers embedded within the psychological atmosphere and domestic space that they share with their mother.
Obscuring the portrait, Martin Murphy pours a liquid newscast over his head in Today’s Face as gravity directs both the paint and the progression of a news feed continuously downward. The viewer sees the video from the perspective of a user who is watching through the vantage point of a webcam. Whereas Laís Pontes’s Self and Other addresses both single persona and multiple identities. Self and Other is oriented towards both the individual and the collective, and its construction that is both stable and in flux.
Michal Samama heightens this encounter in performance stills where she creates new portraits with the physicality of her body and the materiality of the performance space. By touching, exploring, and relating to the verticality and horizontality of the performance host space, Samama constantly creates new portraits.
- Marina Cavadini
Click Here for Press Release PDF version
Press & Highlights:
･ Blouin Artinfo, 02.19.2017
･ Visual Art Source, 02.03.2017
