Meeting #100 is one in a series of text works by Jonathan Monk. In this series, the artist attempts to organize meetings somewhere in the world. The audience is given the details of a meeting—the place, date and time—and nothing more. Meeting #100 specifies a meeting at “The Clock Tower, Leicester, England, May 7th 2024, Noon”. While the work indicates a very specific appointment in the future, the reason or goal of the meeting is intentionally unclear. This basic principle and structure always remains the same throughout the series. The invitation to meet is potentially open to an audience of thousands, which is theoretically more likely to result in a rally or demonstration rather than a brief encounter. The reception of the work changes at the very moment of the meeting, when anticipation gives way to memory and nostalgia.
Jonathan Monk re-fashions and re-examines seminal works of Conceptual and Minimal art through witty, ingenious, and irreverent means. Through wall paintings, monochromes, ephemeral sculpture, and photography, Monk reflects on the tendency of contemporary art to canabilize references, while paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Lawrence Weiner. Monk’s art practice does not follow any specific style; it doesn’t contain any common characteristic to identify his work at first glance. The amount and variety of his works poses questions about what supports them. Demystifying the creative process, Monk often employs appropriation, humor, irony, and anecdote in his work. To enter an exhibition of works by Jonathan Monk is like taking part in a treasure hunt, made up of digressions and space-time manipulations.
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...
In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube...