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Taryn Simon

Installation view, Taryn Simon: A Cold Hole, Massachusetts Museum of Contemporary Art, North Adams, May 26, 2018–March 25, 2019 Artwork © Taryn Simon. Photo: David Dashiell, courtesy MASS MoCA

Installation view, Taryn Simon: A Cold Hole, Massachusetts Museum of Contemporary Art, North Adams, May 26, 2018–March 25, 2019

Artwork © Taryn Simon. Photo: David Dashiell, courtesy MASS MoCA

Installation view, Taryn Simon: An Occupation of Loss, Islington Green and Essex Road, London, April 17–28, 2018. Produced by Artangel. A co-commission by Artangel and Park Avenue Armory Artwork © Taryn Simon. Photo: Hugo Glendinning/Taryn Simon Projects, courtesy the artist

Installation view, Taryn Simon: An Occupation of Loss, Islington Green and Essex Road, London, April 17–28, 2018. Produced by Artangel. A co-commission by Artangel and Park Avenue Armory

Artwork © Taryn Simon. Photo: Hugo Glendinning/Taryn Simon Projects, courtesy the artist

Installation view, Taryn Simon: Paperwork and the Will of Capital, MOMENTA | Biennale de l’image at Musée d’art contemporain de Montréal, Quebec, September 8–November 19, 2017 Artwork © Taryn Simon. Photo: Richard-Max Tremblay, courtesy MAC Montréal

Installation view, Taryn Simon: Paperwork and the Will of Capital, MOMENTA | Biennale de l’image at Musée d’art contemporain de Montréal, Quebec, September 8–November 19, 2017

Artwork © Taryn Simon. Photo: Richard-Max Tremblay, courtesy MAC Montréal

Installation view, Taryn Simon: Birds of the West Indies, Carnegie International 56th Edition, Carnegie Museum of Art, Pittsburgh, October 5, 2013–March 16, 2014 Artwork © Taryn Simon. Photo: Greenhouse Media, courtesy Carnegie Museum of Art and Gagosian

Installation view, Taryn Simon: Birds of the West Indies, Carnegie International 56th Edition, Carnegie Museum of Art, Pittsburgh, October 5, 2013–March 16, 2014

Artwork © Taryn Simon. Photo: Greenhouse Media, courtesy Carnegie Museum of Art and Gagosian

Installation view, Taryn Simon: A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Galerie Rudolfinum, Prague, Czech Republic, April 27–July 10, 2016 Artwork © Taryn Simon. Photo: Martin Polák, courtesy Galerie Rudolfinum

Installation view, Taryn Simon: A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Galerie Rudolfinum, Prague, Czech Republic, April 27–July 10, 2016

Artwork © Taryn Simon. Photo: Martin Polák, courtesy Galerie Rudolfinum

Installation view, Taryn Simon: A Living Man Declared Dead and Other Chapters, Museum of Modern Art, New York, May 2–September 3, 2012 Artwork © Taryn Simon. Photo: Jonathan Muzikar, courtesy Museum of Modern Art

Installation view, Taryn Simon: A Living Man Declared Dead and Other Chapters, Museum of Modern Art, New York, May 2–September 3, 2012

Artwork © Taryn Simon. Photo: Jonathan Muzikar, courtesy Museum of Modern Art

Installation view, Taryn Simon, Helsinki Art Museum, Finland, March 9–May 13, 2012 Artwork © Taryn Simon. Photo: Hanna Kukorelli, courtesy Helsinki Art Museum

Installation view, Taryn Simon, Helsinki Art Museum, Finland, March 9–May 13, 2012

Artwork © Taryn Simon. Photo: Hanna Kukorelli, courtesy Helsinki Art Museum

Installation view, Taryn Simon: Action Research/The Stagecraft of Power, Garage Museum of Contemporary Art, Moscow, March 17–May 22, 2016 Artwork © Taryn Simon. Photo: Naroditskiy Alexey, courtesy Garage Museum of Contemporary Art

Installation view, Taryn Simon: Action Research/The Stagecraft of Power, Garage Museum of Contemporary Art, Moscow, March 17–May 22, 2016

Artwork © Taryn Simon. Photo: Naroditskiy Alexey, courtesy Garage Museum of Contemporary Art

Installation view, Taryn Simon: An American Index of the Hidden and Unfamiliar, Whitney Museum of American Art, New York, March 9–June 24, 2007 Artwork © Taryn Simon. Photo: Sheldan Collins, courtesy Whitney Museum of American Art

Installation view, Taryn Simon: An American Index of the Hidden and Unfamiliar, Whitney Museum of American Art, New York, March 9–June 24, 2007

Artwork © Taryn Simon. Photo: Sheldan Collins, courtesy Whitney Museum of American Art

Installation view, Taryn Simon: The Innocents, Kunst-Werke Institute for Contemporary Art, Berlin, 2003 Artwork © Taryn Simon. Photo: courtesy KW Institute for Contemporary Art

Installation view, Taryn Simon: The Innocents, Kunst-Werke Institute for Contemporary Art, Berlin, 2003

Artwork © Taryn Simon. Photo: courtesy KW Institute for Contemporary Art

Installation view, Taryn Simon: An Occupation of Loss, Park Avenue Armory, New York, September 13–25, 2016 © Taryn Simon. Photo: Naho Kubota, courtesy the artist and Gagosian

Installation view, Taryn Simon: An Occupation of Loss, Park Avenue Armory, New York, September 13–25, 2016

© Taryn Simon. Photo: Naho Kubota, courtesy the artist and Gagosian

Installation view, Taryn Simon: Action Research/The Stagecraft of Power, Garage Museum of Contemporary Art, Moscow, March 17–May 22, 2016 Artwork © Taryn Simon. Photo: Naroditskiy Alexey, courtesy Garage Museum of Contemporary Art

Installation view, Taryn Simon: Action Research/The Stagecraft of Power, Garage Museum of Contemporary Art, Moscow, March 17–May 22, 2016

Artwork © Taryn Simon. Photo: Naroditskiy Alexey, courtesy Garage Museum of Contemporary Art

Installation view, Taryn Simon: Shouting Is under Calling , Kunstmuseum Luzern, Switzerland, February 24–June 16, 2018 Artwork © Taryn Simon. Photo: Annik Wetter Photographie, courtesy Gagosian

Installation view, Taryn Simon: Shouting Is under Calling , Kunstmuseum Luzern, Switzerland, February 24–June 16, 2018

Artwork © Taryn Simon. Photo: Annik Wetter Photographie, courtesy Gagosian

Installation view, Taryn Simon: Rear Views, a Star-Forming Nebula, and the Office of Foreign Propaganda, Jeu de Paume, Paris, February 24–May 17, 2015 Artwork © Taryn Simon. Photo: Romain Darnaud, courtesy Jeu de Paume

Installation view, Taryn Simon: Rear Views, a Star-Forming Nebula, and the Office of Foreign Propaganda, Jeu de Paume, Paris, February 24–May 17, 2015

Artwork © Taryn Simon. Photo: Romain Darnaud, courtesy Jeu de Paume

Installation view, Taryn Simon: A Living Man Declared Dead and Other Chapters, Neue Nationalgalerie, Berlin, September 21, 2011–January 1, 2012 Artwork © Taryn Simon. Photo: David von Becker, courtesy Neue Nationalgalerie

Installation view, Taryn Simon: A Living Man Declared Dead and Other Chapters, Neue Nationalgalerie, Berlin, September 21, 2011–January 1, 2012

Artwork © Taryn Simon. Photo: David von Becker, courtesy Neue Nationalgalerie

Installation view, Taryn Simon: A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Staatliche Kunstsammlungen, Dresden, Germany, October 27, 2016–January 15, 2017 Artwork © Taryn Simon. Photo: David Pinzer, courtesy Staatliche Kunstsammlungen, Dresden

Installation view, Taryn Simon: A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Staatliche Kunstsammlungen, Dresden, Germany, October 27, 2016–January 15, 2017

Artwork © Taryn Simon. Photo: David Pinzer, courtesy Staatliche Kunstsammlungen, Dresden

Installation view, Taryn Simon: A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Staatliche Kunstsammlungen, Dresden, Germany, October 27, 2016–January 15, 2017 Artwork © Taryn Simon. Photo: David Pinzer, courtesy Staatliche Kunstsammlungen, Dresden

Installation view, Taryn Simon: A Soldier Is Taught to Bayonet the Enemy and Not Some Undefined Abstraction, Staatliche Kunstsammlungen, Dresden, Germany, October 27, 2016–January 15, 2017

Artwork © Taryn Simon. Photo: David Pinzer, courtesy Staatliche Kunstsammlungen, Dresden

Installation view, Taryn Simon: An American Index of the Hidden and Unfamiliar, Louisiana Museum of Modern Art, Denmark, October 29, 2016–January 15, 2017 Artwork © Taryn Simon. Photo: Poul Buchard/Broendum & Co, courtesy Louisiana Museum of Modern Art

Installation view, Taryn Simon: An American Index of the Hidden and Unfamiliar, Louisiana Museum of Modern Art, Denmark, October 29, 2016–January 15, 2017

Artwork © Taryn Simon. Photo: Poul Buchard/Broendum & Co, courtesy Louisiana Museum of Modern Art

Installation view, Taryn Simon: Rear Views, a Star-Forming Nebula, and the Office of Foreign Propaganda, Jeu de Paume, Paris, February 24–May 17, 2015 Artwork © Taryn Simon. Photo: Romain Darnaud, courtesy Jeu de Paume

Installation view, Taryn Simon: Rear Views, a Star-Forming Nebula, and the Office of Foreign Propaganda, Jeu de Paume, Paris, February 24–May 17, 2015

Artwork © Taryn Simon. Photo: Romain Darnaud, courtesy Jeu de Paume

Installation view, Taryn Simon: Paperwork and the Will of Capital, United Nations, 2016 Treaty Event, New York, 2016 Artwork © Taryn Simon. Photo: courtesy the artist and Gagosian

Installation view, Taryn Simon: Paperwork and the Will of Capital, United Nations, 2016 Treaty Event, New York, 2016

Artwork © Taryn Simon. Photo: courtesy the artist and Gagosian

Installation view, Taryn Simon: A Living Man Declared Dead and Other Chapters, Ullens Center for Contemporary Art, Beijing, October 15, 2013–January 5, 2014 Artwork © Taryn Simon. Photo: Peter Lo, courtesy Ullens Center for Contemporary Art

Installation view, Taryn Simon: A Living Man Declared Dead and Other Chapters, Ullens Center for Contemporary Art, Beijing, October 15, 2013–January 5, 2014

Artwork © Taryn Simon. Photo: Peter Lo, courtesy Ullens Center for Contemporary Art

About

Archives exist because there’s something that can’t necessarily be articulated. Something is said in the gaps between all the information.
—Taryn Simon

Taryn Simon directs our attention to familiar systems of organization—bloodlines, criminal investigations, flower arrangements—making visible the contours of power and authority hidden within. Incorporating mediums ranging from photography and sculpture to text, sound, and performance, each of her projects is shaped by years of rigorous research and planning, including obtaining access from institutions as varied as the US Department of Homeland Security and Playboy Enterprises, Inc.

Born in New York, where she lives and works, Simon received a BA in semiotics from Brown University in 1997. In 2001 she was awarded a Guggenheim Fellowship for what would become her first major photographic and textual work: The Innocents (2002), which was exhibited at MoMA PS 1. Documenting cases of wrongful conviction in the United States, The Innocents calls into question photography’s function as a credible eyewitness and arbiter of justice.

In 2007 Simon’s series An American Index of the Hidden and Unfamiliar (2007) was presented at the Whitney Museum of American Art, New York. The photographs depict objects, sites, and spaces that are integral to America’s foundation, mythology, and daily functioning, but that remain inaccessible or unknown. These subjects include radioactive capsules at a nuclear waste storage facility, a black bear in hibernation, and the art collection of the CIA. The following year Simon began A Living Man Declared Dead and Other Chapters I–XVIII (2011), for which she traveled the world researching and recording bloodlines and their related stories. In each of the work’s twenty-eight “chapters,” the external forces of territory, power, circumstance, and religion collide with the internal forces of psychological and physical inheritance. The subjects documented by Simon include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the “living dead” in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. For Contraband (2010), Simon spent a week at JFK International Airport in New York, photographing the goods that were seized as they entered the US from abroad. An archive of global desires and perceived threats, Contraband encompasses 1,075 images of items set against crisp pale gray backgrounds. A formal inverse of these works can be found in Black Square (2006–), in which Simon isolates objects, documents, and individuals within a black field with precisely the same measurements as Kazimir Malevich’s 1915 Suprematist work of the same name.

In 2012–13 Simon began work on Image Atlas (2012–) and The Picture Collection (2013–), projects that bridge physical and digital archives. The former, created with computer programmer Aaron Swartz, investigates cultural differences and similarities by indexing top image results for given search terms across local search engines throughout the world. The latter was inspired by the New York Public Library’s picture archive, whose 1.2 million printed images, organized under more than 12,000 subject headings, comprise the largest circulating picture library in the world. In 2013 Simon also produced Birds of the West Indies, a two-part series that takes its title from a taxonomy by American ornithologist James Bond. Part I is a visual inventory of the women, weapons, and vehicles appearing in the film franchise featuring the fictional British spy James Bond; this visual database of interchangeable variables used in the production of fantasy examines the economic and emotional value generated by their repetition.  In Part II, Simon identifies, photographs, and classifies every bird that appears in the first twenty-four James Bond films. Simon pored over every scene to discover these moments of chance, training her eye away from the agents of seduction—glamour, luxury, power, violence, sex—to look only in the margins.

In Paperwork and the Will of Capital (2015), Simon re-created centerpieces from official photographs of international political signings, underscoring how the stagecraft of power is created, performed, marketed, and maintained. The signings that inform the series involve the countries that were present at the 1944 United Nations Monetary and Financial Conference, in Bretton Woods, New Hampshire, which addressed the globalization of economies after World War II and led to the establishment of the International Monetary Fund and the World Bank. The concrete flower presses comprising the series’ sculptural component were included in the 2015 Venice Biennale. The following year Simon presented her first performance work, An Occupation of Loss (2016), in which professional mourners enact rituals of grief, broadcasting their lamentations from within a sculptural installation. Their sonic mourning is performed in recitations that include northern Albanian laments, which seek to excavate “uncried words”; Wayuu laments, which safeguard the soul’s passage to the Milky Way; Greek Epirotic laments, which bind the story of a life with its afterlife; and Yezidi laments, which map a topography of displacement and exile. Performed in New York in 2016 and in London in 2018, An Occupation of Loss probes the anatomy of loss and the intricate systems used to manage contingencies of fate and the uncertain universe.

Performance continues to intersect with Simon’s photographic work. Her 2018 exhibition at MASS MoCA, North Adams, Massachusetts, included two performance-based works, A Cold Hole (2018) and Assembled Audience (2018). In the former, Simon transports the ancient ritual of cold water immersion into the museum, inviting the public to seek the uncertain opportunity for a quick fix. Cold-water plunges’ long history of notable participants includes Apache leader Geronimo, who employed cold-water immersion to prepare boys for manhood and battle; biologist Charles Darwin; and Russian President Vladimir Putin. The shock of plunging into freezing water overrides thought and elicits from participants a gasp like that experienced during sudden death, sleep arrhythmia, and birth. Assembled Audience probes the phenomenon of engineered applause. Over a one-year period, Simon recorded the claps of individuals attending events at the three largest venues in Columbus, Ohio, a city nicknamed “Test City, USA" because its demographics so closely mirror those of the nation as a whole. She layered these recordings into a dense soundscape that plays in a darkened space, gathering individuals with divergent political, corporate, and ideological allegiances into a single crowd that surrounds the viewer. The MASS MoCA exhibition also featured the first major museum installation of Simon’s bookwork, a central aspect of her carefully researched multimedia work.

Taryn Simon

Photo: courtesy the artist and MASS MoCA

Website

tarynsimon.com

Fairs, Events & Announcements

Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Tour

American Pastoral

Thursday, March 5, 2020, 6:30pm
Gagosian, Britannia Street, London

Join Gagosian for a tour of the group exhibition American Pastoral. The show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to londontours@gagosian.com. Space is limited.

Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Art Fair

Frieze Los Angeles 2020
How to Shrink L.A.

February 14–16, 2020, booth C06
Paramount Picture Studios, Los Angeles
frieze.com

Gagosian is pleased to participate in Frieze Los Angeles 2020. Taking Los Angeles’s system of highways as a literal and figurative backdrop, the selection includes Richard Prince’s full-scale car sculpture Untitled (2008) and Chris Burden’s ominously oversize L.A.P.D. Uniform (1993). The booth also includes work by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Sterling Ruby, Ed Ruscha, Taryn Simon, Robert Therrien, Andy Warhol, Tom Wesselmann, and others.

To receive a PDF with detailed information on the works in the booth, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at frieze.com.

Download the full press release (PDF)

Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

The Extreme Present

Exhibition

The Extreme Present

Opening reception: Tuesday, December 3, 5–8pm
December 4–8, 2019
Moore Building, Miami

Gagosian is pleased to announce The Extreme Present, the fifth in a series of annual exhibitions at the Moore Building in the Miami Design District during Art Basel Miami Beach, presented by Gagosian and Jeffrey Deitch. The Extreme Present will explore artists’ reactions to the conditions of our accelerating and increasingly complex world. The title is inspired by The Age of Earthquakes: A Guide to the Extreme Present, a book by Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist, published in 2015. Their provocative thesis addresses the rapidly evolving digital era, half a century after Marshall McLuhan’s groundbreaking study on technology’s influence on culture, Understanding Media: The Extensions of Man, in which he coined the phrase “the medium is the message.” Works in this exhibition explore concepts of media, communication, togetherness, and isolation.

Download the full press release (PDF)

The Extreme Present

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Museum Exhibitions

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

On View

Taryn Simon in
Leonard Cohen: A Crack in Everything

Through April 13, 2020
Nikolaj Kunsthal, Copenhagen
www.nikolajkunsthal.dk

This multidisciplinary exhibition combining visual art, virtual reality, installations, performances, music, and writing offers the public a collection of new work commissioned from and created by local and international artists who have been inspired by Leonard Cohen’s style and recurring themes. This exhibition originated at the Musée d’art contemporain de Montréal. Work by Taryn Simon is included.

Taryn Simon, New York Times, Friday, November 11, 2016, 2017 © Taryn Simon

Taryn Simon, Finding Pursuant to Section 662 of the Foreign Assistance Act of 1961, as Amended, Concerning Operations in Foreign Countries Other than Those Intended Solely for the Purpose of Intelligence Collection. White House, Washington, D.C., United States, 1981, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

On View

Taryn Simon in
Pine’s Eye

Through May 9, 2020
Talbot Rice Gallery, University of Edinburgh, Scotland
www.trg.ed.ac.uk

Taking its name from that of Pinocchio (the word means “pine eye” in Italian), Pine’s Eye explores what it means to be human in times of ecological change. The exhibition offers alternative perspectives for how we understand ourselves in the face of environmental crisis. Work by Taryn Simon is included.

Taryn Simon, Finding Pursuant to Section 662 of the Foreign Assistance Act of 1961, as Amended, Concerning Operations in Foreign Countries Other than Those Intended Solely for the Purpose of Intelligence Collection. White House, Washington, D.C., United States, 1981, from the series Paperwork and the Will of Capital, 2015 © Taryn Simon

Taryn Simon, Chapter XIV, 2011, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–2011 © Taryn Simon

On View

Taryn Simon in
Measure Your Existence

Through August 10, 2020
Rubin Museum of Art, New York
rubinmuseum.org

Measure Your Existence questions and expands the Buddhist concept of impermanence through artworks by six contemporary artists who explore duration, survival, memory, fate, history, loss, disappearance, and reappearance. Work by Taryn Simon is included.

Taryn Simon, Chapter XIV, 2011, from the series A Living Man Declared Dead and Other Chapters I–XVIII, 2008–2011 © Taryn Simon

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

On View

Taryn Simon in
The World to Come: Art in the Age of the Anthropocene

Through August 16, 2020
DePaul Art Museum, Chicago
resources.depaul.edu

The World to Come: Art in the Age of the Anthropocene chronicles an era of rapid, radical, and irrevocable ecological change through works of art by more than forty-five international artists. Our age, a new geological epoch defined by human impact, has controversially been termed the Anthropocene. Despite the challenges of disaster and denial, artists in the exhibition respond with resistance, imagination, and new ways of seeing and thinking about the world to come. This exhibition originated at the Harn Museum of Art, University of Florida, in Gainesville. Work by Taryn Simon is included.

Taryn Simon, White Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas, 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007 © Taryn Simon

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Press

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