Saturday, July 23rd 1-3pm
125 W. 4th St. No. 103
Los Angeles, CA 90013
Kim Schoen and Cody Trepte will discuss the links between their practices in a conversation organized around a series of paired works, shared in a diptych slide show. The pairs were selected to outline some of the threads that run between their practices – covering process, themes of science, language, and the pleasure in uncertainty.
LM Projects is pleased to announce its newest invitational; a multiple from Los Angeles based artist Cody Trepte. This project continues Trepte’s interest in language and appropriated imagery yet serves as a precursor to a new body of work that investigates meaning through omission.
Trepte pairs a found silver gelatin photograph with a text based silkscreen to be displayed either as a diptych or in disparate locations within a single space. Unique to the silkscreen is a UV sensitive ink that reveals the phrase So This Is upon direct exposure to sunlight. Absent of light, the print returns to a state of invisibility, or a mere ghost of itself. Over the course of its lifespan (an unknown point in time) the phrase will eventually fix in a gradation of warm tone ink. The photograph is curious and comical with a clown like character at its center bathed in hard sunlight in a nondescript location. Its meaning and provenance remain a mystery. Like the silkscreen, it pulls the viewer in to decipher meaning, a relationship or clue. The works carry a durational quality, slowly revealing new sets of questions or inquiry over time.
Amongst the subtle similarities, the two share the form of an ellipsis – held up high by the costumed character in the photo and in place of the ‘o’ in So This Is. This is a critical gesture for Trepte as he refers to the ellipsis in linguistics as a strategy to question meaning through the omission of content. In linguistics, the ellipsis refers to the deliberate removal of one or more words in a phrase without the phrase losing its meaning (i.e. “Fire when ready” understood as “Fire when you are ready”). Meaning is understood based on context not necessarily on content. For Trepte, this elliptical construction serves as a new vehicle for approaching subject and thinking about how work is understood independently, in relationship to a pair or any given multitude. The viewer is asked to play an active participant in distilling these complexities.
May 21st - July 2nd
Kelly Chorpening (USA) Peter Morrens (BE) Rebecca Fortnum (UK) Ans Nys (BE) Marc Nagtzaam (NL) Rik De Boe (BE) Marijn van Kreij (NL) Johan De Wilde (BE) Reinhard Doubrawa (DE) Toine Horvers (NL) Rinus Van de Velde (BE) Katrin Stroebol (DE) Voebe de Gruyter (NL) Christoph Fink (BE) Reinaart Vanhoe (NL) Werner Mannaers (BE) Alice O’Hanlon (UK) Maria Barnas (NL) Hiroko Ichihara (JP) Armand Schulthess (CH) Philippe Vandenberg (BE) Ante Timmermans (BE) Guy Rombouts (BE) Serge Onnen (FR) Ryan Brown (USA) Pol Pierart (BE) Vaast Colson (BE) Lore Smolders (BE) Dries Warlop (BE) Sacha Eckes (BE) Simon Benson (UK) Anne Daems (BE) Guy Richards Smit (USA) Patricia Smith (USA) Carlo Mistiaen (BE) James Brooks (UK) Wouter Coolens (BE) Molly Springfield (USA) Pavel Büchler (CZ) Louisa Minkin (UK) David Blackmore (IRL) Rosalie Schweiker (UK) Susan Johanknecht (UK) Kate Scrivener (UK) Rosalie Schweiker (UK) Sonia Boyce (UK) Adam Humphries (UK) Anna Mossman (UK) Dean Hughes (UK) Rupert Norfolk (UK) Benoît Felix (BE) Ane Mette Hol (NO) Beni Bischof (CH) Bert Mebius (NL) Frank Selby (USA) Cody Trepte (USA) Deb Solokow (USA) Geert Clarisse (BE) llse Ermen (BE/CH) Jim Torok (USA) Joe Amrhein (USA) Joe Hardesty (USA) William Powhida (USA) Ofer Wolberger (USA) Rachel E. Foster (USA) Fred Eerdekens (BE) Steve Roden (USA) David Kramer (USA) Denicolai & Provoost (BE) Paul Casaer (BE) Kasper Andreasen (DK) Thierry De Cordier (BE) Wilhelm Sasnal (PL) Tine Melzer (DE) Norma Markley (UK) Melvin Way (UK) Stephan Van Den Burg (NL)
as part of On The Line
March 31, 7-9pm
6522 Hollywood Blvd.
Meg Cranston, Larry Johnson, Sarah Seager, and Mitchell Syrop
March 3 - April 17
Opening Reception: Thursday, March 3rd, 8-10pm
6522 Hollywood Blvd.
Curated by Cody Trepte
Since its inception in the late ‘60s, Conceptualism has shaken the art world, giving rise to a new type of art that prioritized ideas over form. As it developed, Conceptual Art began to spill over into other facets of art making, but its heavy reliance on language continued to fuel criticism that it was inaccessible and insider.
A new generation of artists gaining prominence in Los Angeles during the ‘80s sought to tackle this problem head on. On The Line looks to four artists – Meg Cranston, Larry Johnson, Sarah Seager, and Mitchell Syrop – whose use of language can be seen as an evolution of Conceptualism. They parsed the discipline and introduced a content that was more emotive while still maintaining the rigorous investment in ideas that artists like Sol Lewitt and Joseph Kosuth set forth.
With a casual commitment to systems, a heavy injection of reclaimed subjectivity, and the reintroduction of formal concerns, the artists in this exhibition continue to morph the use of text-in-art from its early rigid applications to a more humorous and pathos filled practice. The result is a simultaneous questioning and affirmation of Conceptualism which allows itself to be continually reinvented.
Wednesday - Sunday, noon – 6pm and Thursday, noon – 9pm