Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

LUKAS DUWENHÖGGER ⁞ VIOLA FREY ⁞ D'ETTE NOGLE ⁞ JOEL OTTERSON ⁞ CAROL RAMA ⁞ New Location Michael Benevento

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Carol Rama, Bricolage (#2), 1969, Mixed media and collage on paper, 27 x 33.5 inches framed
NEW LOCATION
LUKAS DUWENHÖGGER
VIOLA FREY
D'ETTE NOGLE
JOEL OTTERSON
CAROL RAMA
SEPTEMBER 19, 2015 - NOVEMBER 7, 2015



«PRESS RELEASE
Michael Benevento is very pleased to announce the inaugural exhibition at our new gallery location on Beverley Blvd. For the exhibition each of the five connecting gallery spaces will feature work by one of the five included artists, Lukas Duwenhögger, Viola Frey, D’Ette Nogle, Joel Otterson, and Carol Rama.

In the front right gallery the elegant pairing of oil paintings by Lukas Duwenhögger articulates the space’s multiple viewing angles. The two haunting works are indicative of Duwenhögger’s oeuvre, featuring tightly painted, yet stylized, imagery of isolated male figures of Mediterranean descent in theatrical fantasy settings. One of the two exhibited works, titled after Melchior of the Biblical Magi, is shaped within a tall oval frame.

 
Lukas Duwenhögger, Kellner, 1996. Oil on canvas, 23.5 x 19.5 inches          è
Legendary Bay Area sculptor Viola Frey was best known for her larger than life, colorfully glazed ceramic figures. The work on display in the back left gallery is a rare example of a partial departure from that aesthetic. The complex sculpture is an amalgamation of slipcast ceramic parts, some of which are recognizably figurative in various ways, but this object features a ghostly white glaze and more intimate scale.

Inside the video room D’Ette Nogle’s newest video-based work offers viewers clear and purposeful directions for memorizing and visualizing the five obtuse and heavily politicized terms Equality, Liberty, Democracy, Opportunity, and Rights. The text appears on screen and is accompanied by a female American English computer voice and intermittent close-up views of the artist’s eyes and forehead while she responds along with viewers to a cue to “draw a picture in your mind”.
D’Ette Nogle, Initiatory Exercise for Gallery (New Order of the Ages), 2015, HD Video, 2:30 min                                           è

Joel Otterson’s obsessive sculptural combinations have long celebrated the mawkish nature of the domestic environment. Navigating aesthetics rooted in decorative representations of taste, style, class, craft, and sexual identity, Otterson consistently draws inspiration from middle-class Californian domestic spaces and Queer Culture. His sculptural installation Camp, showing among other works by the artist in the back right gallery, is as much a reference to the dandyism of 1960’s American Camp as it is a sculptural representation of a tent at a campsite.
Carol Rama, Zef, 1946, Mixed media on paper, 
23 x 18 inches framed
Joel Otterson, Raving Mad (Detail), 1997, Copper plumbing pipe and
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In the left front gallery hangs a grouping of works on paper by the self-taught Italian genius Carol Rama. Within the exhibited works, spanning dates from the 1930’s through the 1970’s, are incredibly powerful examples of the artist’s provocative painted imagery, all of which was shockingly radical in its time of production for its overt and unapologetic themes of sexual identity and female erotic desire. Complementing the heavily stylized figure paintings are two subtly humorous Bricolage works by Rama that are consistent with the aesthetic sensibilities of 1950’s-1960’s Arte Povera and Assemblage Artists.

Michael Benevento is located at 3712 Beverly Boulevard, Los Angeles, CA 90004. 
Gallery Hours are Tuesday – Saturday 10am-5pm.  For press inquiries and additional information please contact Becky Koblick at bk@beneventolosangeles.com.