《news》

《upcoming exhibiton》

《current exhibiton》
「Drawings」坂本睦美、佐藤明日香、龍口経太
@ex-chamber museum
〒101-0021 東京都千代田区外神田6-11-14 3331 Arts Chiyoda 205a
070-5567-1513
2/13(土)〜2/28(日)月火水休(2/23祝日開廊)
木金:14:00〜18:00、土日祝:12:00〜18:00
プレスリリース
インスタレーションビュー

“Drawings” Mutsumi Sakamoto, Asuka Satow, Keita Tatsuguchi
@ex-chamber museum
3331 Arts Chiyoda 205a, 6-11-14, Soto-Kanda, Chiyoda-ku, Tokyo, Japan
81-70-5567-1513
Feb.13(Sat)〜Feb.28(Sun) closed on Mondays to Wednesdays (Feb.23 is open)
Thusdays and Fridays:14:00〜18:00, Saturdays, Sundays:12:00〜18:00
installation views

《past exhibiton》

ex-chamber museum
http://ex-chamber.seesaa.net
〒101-0021 東京都千代田区外神田6-11-14 3331 Arts Chiyoda 205a
google map
tel: 070-5567-1513
mail: exchamber@yahoo.co.jp
インフォメーション

ex-chamber museum
3331 Arts Chiyoda 205a, 6-11-14, Soto-Kanda, Chiyoda-ku, Tokyo, Japan
google map
mail: exchamber@yahoo.co.jp
information

artists
伊藤航 Wataru Ito
小野川直樹 Naoki Onogawa
小坂学 Manabu Kosaka
後藤勇治 Yuji Goto
坂本睦美 Mutsumi Sakamoto
佐藤明日香 Asuka Satow
勢藤明紗子 Asako Setoh
田島大介 Daisuke Tajima
鶴友那 Yuna Tsuru
照井譲 Yuzuru Terui
平山紗代  Sayo Hirayama
山口英紀 Hidenori Yamaguchi

new articles

2021年01月17日

memo (overseas): Jan17,2021

ex-chamber memo (overseas): Jan17,2021

Hannah Perry: LIQUID LANGUAGE
CURATED BY DAVID LISS
@Arsenal Contemporary Art, Toronto
45 ERNEST AVE
TORONTO ON M6P 3M7
CANADA
Nov 16, 2019 - Apr 4, 2020

installation views
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Rage Fluids, 2018, Steel, car body wrap, subwoofers, Variable dimensions

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Cock Blocking, 2017, Foam, vinyl, streep, strapping, 53’’ x 30’’ x 29’’

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North Face Folie, 2019, Screenprint on aluminum, vinyl wrap, paint, 47 1/8’’ x 35 3/8’’

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Salty Salty A Woman, 2019, Screenprint on aluminum, vinyl wrap, paint, 47 1/8’’ x 35 3/8’’

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Rage Fluids, 2019, Steel, car body wrap, subwoofers, variable dimensions.

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Rage Fluids, 2019, Steel, car body wrap, subwoofers, variable dimensions.

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Rage Fluids, 2019, Steel, car body wrap, subwoofers, variable dimensions.

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Rage Fluids, 2019, Steel, car body wrap, subwoofers, variable dimensions.

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Our Separate Ways, 2019, Screenprint on mirror, vinyl wrap, paint, 72’’ x 120’’

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Counter Narrative, 2019, Screenprint on Dibond mirror, vinyl wrap, paint, 47 1/8’’ x 35 3/8’’

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Interview With Paranoia, 2019, Screenprint on Dibond mirror, vinyl wrap, paint, 47 1/8’’ x 35 3/8’’

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GUSH, 2018, Video installation, 21 min.

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GUSH, 2018, Video installation, 21 min.





Kerry Schuss: Electrograms 1978–2020
@Gordon Robichaux
41 Union Square West, #925 and #907
(Entrance 22 East 17th Street)
New York, NY 10003
USA
January 19–February 23, 2020

installation views
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Kerry Schuss, Electrogram (copper tube in hand), 1979-2019, silver gelatin print, 16 x 13 in (paper); 16.5 x 13.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (copper squares mirrored), 1979-2019, silver gelatin print, 16 x 13 in (paper); 16.5 x 13.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (twin copper squares), 1978-2019, silver gelatin print, 19 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (square within a square), 1978-2019, silver gelatin print, 19.5 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (squares electrified), 1978-2019, silver gelatin print, 19.5 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (multiple copper squares), 1978-2019, silver gelatin print, 19.5 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (small square in hand), 1978-2019, silver gelatin print, 19.5 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (large square in hand), 1978-2019, silver gelatin print, 19.5 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (mirror), 1979-2019, silver gelatin print, 27 x 22 in (paper); 27.5 x 22.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (mirrors, copper square & magnet), 1979-2019, silver gelatin print, 19.5 x 16 in (paper); 20 x 16.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (copper ring), 1979-2019, silver gelatin print, 54 x 44 in (paper); 54.5 x 44.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (R.C. & K.S. portrait), 1979-2019, silver gelatin print, 10 x 12 in (paper); 10.5 x 12.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (V.L. & K.S. portrait), 1979-2019, silver gelatin print, 16 x 19.5 in (paper); 16.5 x 20 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (mirrors and magnets), 1979-2019, silver gelatin print, 40 x 33 in (paper); 40.5 x 33.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (copper squares hi voltage), 1979-2019, silver gelatin print, 16 x 19.5 in (paper); 16.5 x 20 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (copper square & dust), 1979-2019, silver gelatin print, 44 x 54 in (paper); 44.75 x 54.75 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (copper squares), 1979-2019, silver gelatin print, 22 x 27 in (paper); 22.5 x 27.5 in (artist frame), Ed of 6 + 2 AP​

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Kerry Schuss, Electrogram (finger tips & squares), 1979-2019, silver gelatin print, 22 x 27 in (paper); 22.5 x 27.5 in (artist frame), Ed of 6 + 2 AP​





Louise Lawler, R.H. Quaytman, Cameron Rowland
@Galerie Buchholz, Köln
Neven-DuMont-Str. 17 50667 Köln
Germany
4 September 2020 – 24 October 2020

installation views
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R.H. Quaytman
“Spine, Chapter 20 [Fraser, Anastas, Lawler]”, 2010
oil, silkscreen ink and
gesso on wood
50.8 x 82.2 x 1.9 cm

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Louise Lawler
“Corner (distorted for the times, perturbée)”, 2014/2018
digital Fujiflex print face mounted to Plexiglas on museum box
66 x 54.3 cm

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R.H. Quaytman
“+ ×, Chapter 34 [IV]”, 2018
indigo distemper and gesso on wood
94.1 x 94.1 x 3.2 cm

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R.H. Quaytman
“+ ×, Chapter 34 [V]”, 2018
indigo distemper and gesso on wood
94.1 x 94.1 x 3.2 cm

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Cameron Rowland
“Out of sight”, 2020
19th-century slave iron, 19th-century slave iron with missing rattle
13,5 (h) x 28 (w) x 15 (d) cm
Irons with rattles built into their handles, called slave irons, were designed to be used by the enslaved working inside the plantation house to iron the laundry of the masters. While out of sight, the rattle audibly signaled to the master that the slave was working continuously. Removing the rattle was a refusal of this oversight.
Rental

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Cameron Rowland
“Out of sight”, 2020
19th-century slave iron, 19th-century slave iron with missing rattle
13,5 (h) x 28 (w) x 15 (d) cm
Irons with rattles built into their handles, called slave irons, were designed to be used by the enslaved working inside the plantation house to iron the laundry of the masters. While out of sight, the rattle audibly signaled to the master that the slave was working continuously. Removing the rattle was a refusal of this oversight.
Rental

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Louise Lawler
“Water to Skin (catalogue size)”, 2016/2017
digital fujiflex print face mounted to Plexiglas on museum box
28.6 x 20.3 cm

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Louise Lawler
“Vienna (lavender)”, 2018/2019
gelatin silver print in artist frame
57.8 x 45.1 cm
(framed: 78.1 x 64.8 cm)

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Louise Lawler
“Vienna (mustard)”, 2018/2019
gelatin silver print in artist frame
57.8 x 45.1 cm
(framed: 78.1 x 64.8 cm)

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Cameron Rowland
“Reasonable Suspicion”, 2020
Form DCJS 3205
34.5 x 50.5 x 3.5 cm
The NYPD incident report records the race of both the victim and suspect, but it only records the skin tone of the suspect. The suspect description functions to create a wanted profile that police seek to match. Matching a description in the vicinity of a reported crime is often considered enough to meet the standard for reasonable suspicion.
According to the NYPD COMPSTAT report, in 2019 Black people constituted 52.35% of misdemeanor and felony suspects and 60.3% of Stop, Question, and Frisk subjects.
In 2019 Black people constituted 24.3% of the city’s population.

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R.H. Quaytman
“An Evening, Chapter 32”, 2017-2019
oil, silkscreen ink
and gesso on wood
50.8 x 82.2 x 1.9 cm

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Cameron Rowland
“Management”, 2020
time horn clock
Overseers, using the master’s clock, would sound a horn or bell to signal the start or stoppage of work across the miles of the plantation. Plantation time management was enforced through punishment. The sound of the horn, dislocated from the governing clock, dictated the master’s claim to the time of enslaved life.

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Louise Lawler
“Water to Skin (traced)”, 2016/2020
vinyl adhesive wall material

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Louise Lawler
“Position (verb)”, 1982/2020
gelatin silver print
17.8 x 12.7 cm
(framed: 38.4 x 33 cm)

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Louise Lawler
“Position (noun)”, 1982/2020
gelatin silver print
12.7 x 17.8 cm
(framed: 38.4 x 33 cm)





ANNA ROSEN: Egg and Dart
@Night Gallery
2276 E 16th Street
90021 Los Angeles
USA
NOVEMBER 21, 2020 – JANUARY 23, 2021

installation views
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"The Peasant Look," 2020

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"Fabergé," 2020

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"Milliner's Shop," 2020

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"The Residence," 2020

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"Swallowed whole," 2020

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"Coup de grâce (Oh, Ryan)," 2020

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"The Plank," 2020

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"Spaghetti and Meatballs," 2020

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"The Peasant Look," 2020





Anna Nero: Res Extensa
@Schierke Seinecke
Bahnhofsviertel
Niddastr. 63
60329 Frankfurt am Main
Germany
4.9.–30.10.2020

installation views
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Unmanly Man
Oil, acrylics & spraypaint on canvas, 40x30cm, 2020

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Cluster
Oil, acrylic, oil-pen & marker on canvas, 40x30cm, 2020

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Heavy Loop
Oil & acrylics on canvas, 160x120cm, 2020

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Quarantine Playground
Oil, acrylic, spraypaint & marker on canvas, 130x100cm, 2020

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Flint
Oil, acrylic & oil-chalk on canvas, 180x130cm, 2020
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