Opening reception: November 30, 2012. 7:00 – 9:00 p.m.
From November 30 through December 31, 2012.
“In my previous work, I’ve engaged with the notion of the modern as a locus of futuristic hope as well as a site of both oppression and repression. I’ve focused on the question of place – and the desire for the creation of a potential-filled ‘new place’ – through a range of approaches, treating my work as a stage for concrete action and interaction, as well as a site of memory and desire. Although I’ve always used architecture as my entry point to the work, I’ve also employed figurative elements in it as another kind of reference to the body, and as a mark of scale, ranging from the diminutive to the monumental. In The Working Day, I’m revising this relationship between architecture/installation and the figurative, allowing for the figures to become the architecture, and so assigning them the role of creating that potential-filled ‘new place.’ Grouping a number of figurative works in the gallery space- each treated as a freestanding piece, but thought of together as The Gravediggers – I seek to address issues of class and the distinctions made between the individual and the collective.” – Ohad Meromi
Born in 1976 in Kibbutz Mizra, Israel, Ohad Meromi holds an MFA from Columbia University. He currently lives and works in New York. He has exhibited in solo exhibitions at Harris Lieberman, Art in General, Country Club, PS1 Contemporary Art Center, the Tel Aviv Museum of Art, and the Israel Museum in Jerusalem. His work has been included in group exhibitions at locations including Centre for Contemporary Art, Warsaw, Public Art Fund, Magasin 3, The Sculpture Center, Momenta Art, and various other galleries and museums around the world. His work has been written about in The New York Times, Artforum.com, Domus, Flash Art, Artforum, The New Yorker, The Guardian, and various other publications. This is Ohad’s first exhibition in Miami.
Also on view in the gallery’s Project Room will be Khamsa-izm organized by Nicolas Lobo. This is a show organized by the relationship of the eye to the hand. The title of the show refers to the ancient hand shaped amulet used to ward off the evil eye, the Khamsa meaning literally “five” in Arabic. Featuring work by Kenneth Tam, Alyse Edmur, Oliver Laric, Harun Farocki, Bill Daniel, Emmett Moore and The Tabloid by Gean Moreno and Ernesto Oroza.
What are the moral qualities of the hand?
Does the ye have the ability to project good or evil?
Can the powers of the hand be perpetuated through mechanical reproduction?
If a machine can see, can it act as a surrogate, projecting negative feelings through its eye?
The work selected for this show may ask or answer these questions. These works include drawings intended for reproduction, video about the eye and the hand portraying various moral and ethical disputes arising between the two. As well as seating designed as a platform for viewing and a tabloid which doubles as wallpaper.
Gallery Diet
174 NW 23rd Street
Miami, FL 33127
www.gallerydiet.com
Be the first to comment