JOHN ARMLEDER
September 24 - November 2, 2013
Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Joseph Nahmad Contemporary _  John Armleder

Installation view, Nahmad Contemporary. Photographs by Tom Powel Imaging

Nahmad Contemporary is pleased to present a solo exhibition of the Swiss artist John Armleder. A key figure in contemporary art since the early 1970s, John Armleder’s wide ranging body of work—painting, sculpture and installation—has been acknowledged by critics and colleagues alike, while his diverse practice continues to make him an unclassifiable force to this day. With an opening reception from 6-8pm on September 24, the show will be on view through November 2, 2013.

 

The exhibition at Nahmad Contemporary spans the last two decades of artist’s career, showing a number of pieces in New York for the first time. The show includes a selection of poured paintings and puddle paintings, alongside mirrors and guitars from the seminal series, Furniture Sculptures. The exhibition is anchored by two installations: Ciliata, 1994, a flower garden using large tractor tires as a planter box, and Untitled, Light Pile, 1995, also from the Furniture Sculpture series, a pile fluorescent lights engaging Armleder in debate with Dan Flavin.

 

Nahmad Contemporary will also be presenting one of Armleder’s wall paintings. In these paintings, the artist’s ambiguity towards image, space and structure is “confronted by the principles of equivalence between murals in the strict sense, and works where the wall provides a crucial component,” as noted by Lionel Bovier in his 2005 essay about the artist, Whatever by Whomever... or “Starting Over” as a working principle in the work of John Armleder.

 

A master of new beginnings, Armleder jumps from post-modernism to dada, from minimal to conceptual art, as his work forms an allegory for ambivalence, the original, and action. Throughout his career Armleder has developed an amalgamation of methods and directions in his work, while not settling on a sole specialization. This exhibition at Nahmad Contemporary represents the consistent theme in Armleder’s work as described by Bovier in “Starting Over”: the artist’s ability to tackle any issue and start fresh every time.