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Laws of Motion

Josh Kline, Jeff Koons, Cady Noland, Rosemarie Trockel, Jeff Wall, Anicka Yi

November 20–December 21, 2018
Hong Kong

Installation view Artwork, left to right: © Anicka Yi, © Cady Noland, © Josh Kline, © Jeff Wall

Installation view

Artwork, left to right: © Anicka Yi, © Cady Noland, © Josh Kline, © Jeff Wall

Installation view Artwork, left to right: © Cady Noland, © Anicka Yi, © Josh Kline, © Jeff Wall

Installation view

Artwork, left to right: © Cady Noland, © Anicka Yi, © Josh Kline, © Jeff Wall

Installation view Artwork, left to right: © Jeff Wall, © Josh Kline, © Anicka Yi

Installation view

Artwork, left to right: © Jeff Wall, © Josh Kline, © Anicka Yi

Installation view Artwork, left to right: © Anicka Yi, © Josh Kline

Installation view

Artwork, left to right: © Anicka Yi, © Josh Kline

Installation view Artwork, left to right: © Josh Kline, © Jeff Wall, © Cady Noland

Installation view

Artwork, left to right: © Josh Kline, © Jeff Wall, © Cady Noland

Installation view with Josh Kline, Lies (2017) Artwork © Josh Kline

Installation view with Josh Kline, Lies (2017)

Artwork © Josh Kline

Works Exhibited

Jeff Wall, Siphoning Fuel, 2008 Color photograph, 73 ¼ × 91 ½ inches (186 × 235 cm), edition of 2 + 1 AP© Jeff Wall

Jeff Wall, Siphoning Fuel, 2008

Color photograph, 73 ¼ × 91 ½ inches (186 × 235 cm), edition of 2 + 1 AP
© Jeff Wall

Anicka Yi, Immigrant Caucus, 2017 Powder-coated steel and powder-coated aluminum expanded mesh, stainless steel insecticide sprayer with brass fittings, ultrasonic diffuser, and fragrance, installation dimensions variable© Anicka Yi

Anicka Yi, Immigrant Caucus, 2017

Powder-coated steel and powder-coated aluminum expanded mesh, stainless steel insecticide sprayer with brass fittings, ultrasonic diffuser, and fragrance, installation dimensions variable
© Anicka Yi

Anicka Yi, On Being Biochemical, 2018 Silicone, artificial flowers, expanded mesh, stainless steel, and custom hardware, 35 ⅞ × 72 × 5 ½ inches (91.1 × 182.9 × 14 cm)© Anicka Yi

Anicka Yi, On Being Biochemical, 2018

Silicone, artificial flowers, expanded mesh, stainless steel, and custom hardware, 35 ⅞ × 72 × 5 ½ inches (91.1 × 182.9 × 14 cm)
© Anicka Yi

About

It’s about technology changing what it means to be human. There’s a self-actualization aspect to it that’s potentially positive, but I mostly associate it with the relentless push to squeeze more productivity out of workers—turning people into reliable, always-on office appliances.
Josh Kline

Gagosian is pleased to present Laws of Motion, an exhibition of works by Josh Kline, Jeff Koons, Cady Noland, Rosemarie Trockel, Jeff Wall, and Anicka Yi. The exhibition will open in Hong Kong and travel to Gagosian San Francisco in January 2019. Its title refers to Karl Marx’s application of scientific laws to systems of capital.

Forty years ago, the art of Koons, Noland, Trockel, and Wall merged strategies of commercial display and formalism, isolating inherent social archetypes and stereotypes. Laws of Motion begins with key artworks from the 1980s that responded to a world saturated in the aesthetics and language of advertising, exploiting its techniques while making visible its latent and subconscious pull.

Koons’s paradigmatic series The New examines themes of domestic use and hygienic order, employing industrial readymades such as vacuum cleaners stacked and isolated in gleaming museum vitrines. The built-in obsolescence of domestic tools and consumer products contrasts with their aspirational qualities, raising philosophical questions of newness and desire. While Noland’s assemblage of emptied beer bottles and a discarded mailbox in Trashed Mailbox (1989) conjures a potent image of American male delinquency, Trockel’s wall-mounted stove top reduces or elevates a central symbol of domestic life to pure geometric abstraction, obliquely engaging a feminist discourse.

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科技不斷改變作為人類的意義,在自我實現方面,科技可能帶來好處,但我更認為科技不斷逼使勞工提升生產力將人變成時刻運作的可靠辦公設備。
約什·克萊恩

高古軒畫廊欣然呈獻「運動定律」展覽,展出約什·克萊恩(Josh Kline)、傑夫·昆斯(Jeff Koons)、卡迪·諾蘭德(Cady Noland)、羅斯瑪麗·特羅克爾(Rosemarie Trockel)、傑夫·沃爾(Jeff Wall)及安妮卡·伊(Anicka Yi)的精彩作品。是次展覽將於香港揭幕,並於2019年1月巡展至三藩市高古軒畫廊。而標題「運動定律」則源自卡爾·馬克思(Karl Marx)將科學定律應用於資本制度的做法。

40年前,傑夫·昆斯、卡迪·諾蘭德、羅斯瑪麗·特羅克爾及傑夫·沃爾的作品融合廣告與形式主義的策略,摒棄固有的社會原型及傳統印象。「運動定律」展覽以1980年代的重要作品為起點,回應充斥廣告美學及語言的世界,既利用廣告的技巧,也體現廣告潛在及潛意識的吸引力。

傑夫·昆斯的經典系列《The New》探索家居用品及衛生秩序的主題,將吸塵機等現成工業製品疊放,置於閃閃發亮的玻璃展示櫃內。已過時的家居用品及消費品與其宣稱的特質形成強烈對比,令人反思新奇與欲望的概念。諾蘭德以空的啤酒瓶及廢棄郵箱拼成《Trashed Mailbox》(1989),令人聯想起美國男性罪犯的鮮明形象,而特羅克爾則將煮食爐掛在牆上,將代表家庭生活的經典標誌削弱或升華至純粹的抽象幾何圖案,間接地展開一場女權的對話。

在1970年代末,沃爾開始以廣告常用的燈箱展示攝影作品。在其後數十年,他創作許多大小型的作品,反思日常生活的行為及體驗。《Diagonal Composition》(1993)利用和諧的形式及豐富的色彩細節,描繪被人忽視的平凡題材。而在《Men Move an Engine Block》(2008)及《Siphoning Fuel》(2008)裡,汽車成為公眾協作及犯罪活動的焦點。

步入數碼時代後,營銷、勞工及價值之間的關係變得更息息相關,而藝術、媒體及數據的純粹性則變得更爲罕見。克萊恩及安妮卡·伊的近期作品以現代手法體現1980年代盛行的消費主義。安妮卡·伊利用政治,以及自己對化學品、細菌與其他普通環境物品的感覺,創造出失衡的時刻,突顯性別不平等、環境惡化,以及權力和控制機制等議題。於《Immigrant Caucus》(2017)中,她提煉幾種氣味,再注入便攜式噴霧瓶中,然後提出「我們如何想像移民或外國人的味道?」的問題。《On Being Biochemical》(2018)及《Quorom Sensing》(2018)在長方形的掛牆畫板上,佈滿類似黴菌或真菌等有機物,就像將劃定的臨床專區變成繁殖場,再不經意地變成抽象畫之類的東西。每幅作品的表面都有零散的層板或開口,從中可看到燈光、假花或裝飾,為長方形畫板賦予前所未有的深度。至於《Deep State》(2017),她則以細菌培養物的照片製作燈箱,將繁殖中或腐爛的有機物變成精緻的圖案。

約什·克萊恩的集合藝術、藝術裝置及影像充滿身體部位、藥品及消毒用品,令觀賞者反思科技對人類的影響。在《Handled with Care》(2017)中,他重複熟悉的字句,以灰色的碎石堆表達自動化及人工智能對勞工的潛在影響,亦即大規模失業。在此層面,克萊恩以末日後幻想為題材的集合藝術作品,標誌著物質過剩的1980年代。

這場跨世代的展覽在畫廊背景中利用製作、推廣及展示藝術的不同體系,探討市場生產的邏輯與形式主義之間的共通之處。過去40年,隨著科技日益進步,藝術家對科技及其社會影響的看法亦已改變,但即使消費的機制不斷變化,人類與物品及產品之間的關係依然大同小異。

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