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Paul Pfeiffer

Pirate Jenny

November 6–December 18, 2004
West 24th Street, New York

Paul Pfeiffer, The Four Horsemen of the Apocalypse (10), 2004 Fujiflex Digital C-print, 48 × 60 inches, edition of 6

Paul Pfeiffer, The Four Horsemen of the Apocalypse (10), 2004

Fujiflex Digital C-print, 48 × 60 inches, edition of 6

Paul Pfeiffer, Four Horsemen of the Apocalypse (17), 2004 Fujiflex Digital C-print, 60 × 48 inches, edition of 6

Paul Pfeiffer, Four Horsemen of the Apocalypse (17), 2004

Fujiflex Digital C-print, 60 × 48 inches, edition of 6

Paul Pfeiffer, Burial at Sea, 2004 (video still) Digital video with 13-inch television and DVD player; video: color, 2 minutes (looped); image: 11 ½ × 8 ½ inches (29.2 × 21.6 cm); edition of 6© Paul Pfeiffer

Paul Pfeiffer, Burial at Sea, 2004 (video still)

Digital video with 13-inch television and DVD player; video: color, 2 minutes (looped); image: 11 ½ × 8 ½ inches (29.2 × 21.6 cm); edition of 6
© Paul Pfeiffer

Paul Pfeiffer, Desiderata, 2004 (video still) Digital video with portable DVD player; video: color, 3 minutes (looped); image: 4 ½ × 8 inches (11.4 × 20.3 cm); edition of 6© Paul Pfeiffer

Paul Pfeiffer, Desiderata, 2004 (video still)

Digital video with portable DVD player; video: color, 3 minutes (looped); image: 4 ½ × 8 inches (11.4 × 20.3 cm); edition of 6
© Paul Pfeiffer

Paul Pfeiffer, Empire, 2004 (video still) Single-channel video, rack-mounted server and RAID data storage system, and video projector, running time: 3 months, overall dimensions variable, edition of 3© Paul Pfeiffer

Paul Pfeiffer, Empire, 2004 (video still)

Single-channel video, rack-mounted server and RAID data storage system, and video projector, running time: 3 months, overall dimensions variable, edition of 3
© Paul Pfeiffer

Paul Pfeiffer, Memento Mori, 2004 (video still) Digital video with monitor, wood and metal armature, and mirror; video: color, 2 minutes (looped); armature: 7 ⅜ × 5 ⅜ × 23 ¼ inches (18.7 × 13.7 × 59 cm); image: 1 ⅛ × 1 ½ inches (2.9 × 3.8 cm); edition of 6© Paul Pfeiffer

Paul Pfeiffer, Memento Mori, 2004 (video still)

Digital video with monitor, wood and metal armature, and mirror; video: color, 2 minutes (looped); armature: 7 ⅜ × 5 ⅜ × 23 ¼ inches (18.7 × 13.7 × 59 cm); image: 1 ⅛ × 1 ½ inches (2.9 × 3.8 cm); edition of 6
© Paul Pfeiffer

Paul Pfeiffer, Pier and Ocean, 2004 (video still)​ Digital video with high-definition media player and plasma screen monitor; video: color, 15 minutes (looped); image: 30 × 54 inches (76.2 × 137.2 cm); edition of 3© Paul Pfeiffer

Paul Pfeiffer, Pier and Ocean, 2004 (video still)​

Digital video with high-definition media player and plasma screen monitor; video: color, 15 minutes (looped); image: 30 × 54 inches (76.2 × 137.2 cm); edition of 3
© Paul Pfeiffer

About

"Pfeiffer's works address how the image of the human being has been transformed by new digital technologies, which can be used both to store limitless amounts of visual information and to manipulate pre-existing images."
– Hilarie M. Sheets

Gagosian Gallery is pleased to present "Pirate Jenny," an exhibition by Paul Pfeiffer featuring five new video works, a sculptural installation and monumental photographs from the series, "The Four Horsemen of the Apocalypse." This exhibition is shown in collaboration with The Project, and will feature new work at both galleries simultaneously.

The cornerstone of the exhibition is "Empire," a video documenting the three-month development and life cycle of a wasp nest. Presented in real time, "Empire" is a perfect example of a recent elaboration in Pfeiffer's work: the expanded use of original footage. In the case of "Empire," this technique allows the artist to comment on the analogies between the structure of our society and the process of the queen building her nest, laying her eggs and becoming the matriarch of her community.

Another highlight of the exhibition will be the nine most recent "The Four Horsemen of the Apocalypse" photographs. In this series, as in many of Pfeiffer's most famous video works, the artist utilizes a reductive take on appropriation, meticulously editing found images of basketball players until a central figure is left isolated against the backdrop of the audience, frozen in a sublime moment of ambiguity.

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