THE WAY WE DO ART NOW
GROUP SHOW SELECTED BY PAVEL BÜCHLER
1 May - 5 June 2010
PREVIEW 30 April, 4 - 9 pm
ARTISTS TALK: Pavel Büchler in conversation with participating artists
Saturday 1 May, 4 pm

Participating artists: David Bellingham, Pierre Bismuth, Pavel Büchler, Nick Crowe and Ian Rawlinson, Sean Edwards, Harald Falkenhagen, Leo Fitzmaurice, Dean Hughes, Jonathan Monk, Martine Myrup, Bruce McLean, Maeve Rendle, Pamela Rosenkranz, Amikam Toren, Steve Van Den Bosch

"There's a story about a Roman wall painter who tried and tried to paint the foam on a horse's mouth. He just couldn't get it right. And in disgust, he threw a sponge at the horse and the sponge left a mark right on the horse's nostril that looked exactly like the foam. And so, he simply added a few more strokes and he had a perfect representation of the foam he had worked so hard to depict. This is probably the birth of abstract art and it is probably the beginning of how we do art now." - John Baldessari, The Way We Do Art Now (The Birth of Abstract Art), 1973

The works in 'The Way We Do Art Now', an exhibition selected by Pavel Büchler for Tanya Leighton Gallery, have come together through Büchler's preference for art that resists the egocentrism of 'expression' by the modesty of the artist's gesture. They were made at various times over the past forty years, by a dozen artists from the UK and continental Europe, better or less well known, whose individual practices and artistic priorities have little in common, yet they share a commitment to an economy of means and scale, and a sense of understatement with which they encourage our curiosity and provoke imagination.

In their diverse ways, the works explore what artists do and how they go about doing it, how they make sense by insisting on doing what ostensively makes no sense in itself. Some seem to promote idleness, even boredom, as if to evade the banality of production and cultural waste; others do what it takes and embrace with overt determination the futility of artistic labour, the paradox of a job not really worth doing but needing to be done nonetheless.

From the earliest work in the exhibition, Bruce McLean's irreverent film 'homage' to Robert Morris In The Shadow of Your Smile, Bob, 1970, to the most recent one, Büchler's own watercolour rendering of the typewritten film title of John Baldessari's The Way We Do Art Now, many of the works acknowledge the Beckettian spirit of the challenge of art itself and of its recent history. Equally many, like those of Amikam Toren or David Bellingham, for instance, meticulously transform objects into ideas only to let the object determine the outcome.

There are echoes and resonances between such works as Pierre Bismuth's unfolded origamis and Martine Myrup's mountain range raising from the fragments of pictures on the spines of a small arrangements of books on a shelf, or between Harald Falkenhagen's rapidly noted inconsequential comments on weather ('yesterday, today and tomorrow') and Dean Hughes' refilling of dried out puddles on a rare sunny morning in Edinburgh. But such provisional connections and ephemeral coincidences offer no guidance to the interpretation of the works on display nor do they diminish the distance between the work done by the artists and that left to the viewers to do. For Büchler, they are at best like the rhymes in a poem: to entice thinking and perhaps aid the memory of the moment once the exhibition is gone and the works are on their way to their next destinations.

David Bellingham
‘360 Degrees’, 2007
Wooden wedges
Unique
Courtesy of the artist
BELLINGHAM-2010-0001



Pierre Bismuth
‘Unfolded Origami - Tortue’, 2003
Poster folded, then unfolded
26.38 x 38.19 in
Unique
Courtesy of the artist and Bugada & Cargnel, Paris
BISMUTH-2010-0001



Nick Crowe & Ian Rawlinson
‘Stille Post’, 2010
Cymbal on stand with ring of burnt out matches
66 x 47 x 47 cm / 26 x 18.5 x 18.5 in
Unique
Courtesy of the artists and Ceri Hand Gallery, Liverpool
CROWE-RAWLINSON-2010-0001



Sean Edwards
‘80 glass lenses in 80 red and white striped vest carrier bags’, 2008
35mm slide projection
80 x 35 mm slides
Projection dimensions variable
Unique
Courtesy of the artist
EDWARDS-2009-0011



Harald Falkenhagen
‘Das Wetter’, 1995
Black indian ink, watercolour
3 DIN A4 paper
Unique
Courtesy of the artist



Leo Fitzmaurice
‘Fader’, 1999
Found Coca-Cola cans
80 x 35 cm
Unique
Courtesy of the artist
FITZMAURICE-2010-0001



Dean Hughes
‘Embroidery Thread on a London Bus Seat’, 1993-6
Framed photograph
28 x 20,5 cm
Unique
Courtesy of the artist
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Bruce McLean
‘In the Shadow of Your Smile, Bob’
16mm film, black and white, sound; 23 mins
Courtesy of the artist
MCLEAN-2010-0001



Jonathan Monk
‘Two Correlated Rotations’, 2004
16mm film projection
Colour, silent; 7 mins
Courtesy of the artist
MONK-2010-0001



Martine Myrup
‘Mountain Range’, 2007
Second-hand books (6 books)
Dimensions variable
Unique
Courtesy of the artist
MYRUP-2010-0001



Maeve Rendle
‘La Berma’s Voice’, 2008
DVD, color, sound; 50 mins
Unique
Courtesy of the artist
RENDLE-2010-0001



Pamela Rosenkranz
‘Spills’, 2009
Photograms
30 x 24 cm
Unique
Courtesy of the artist and Karma International, Zurich
ROSENKRANZ-2010-0001



Amikam Toren
‘Black Hole’, 1997 - 2006
Orange peel, plastic bag
70 x 60 x 60 cm
Unique
Courtesy of the artist and Anthony Reynolds Gallery, London
TOREN-2010-0005



Amikam Toren
‘Simple Fractions’, 1975
Glass, araldite, shelf, framed drawing
36 x 64 x 9 cm
Unique
Courtesy of the artist and Anthony Reynolds Gallery, London
TOREN-2010-0001



Steve Van Den Bosch
‘About 20 Minutes (Intermission)’, 2004
Video, color, silent; 20 mins
Edition of 5 + 2 AP
Courtesy of the artist
VANDENBOSCH-2010-0001



Jonathan Monk
‘Floor Piece’, 2010
Framed photograph; black and white
3 x 4 ins
Unique
MONK-2010-0002