12 FIGURES (AFTER NICCOLÒ) STUDIES IN COLLECTIVE ANXIETY

OVER YOU / YOU31ST LJUBLJANA BIENNIAL OF GRAPHIC ART28 AUGUST - 3 DECEMBER 2015

CURATED BY NICOLA LEES
CURATORIAL COLLABORATORS STELLA BOTTAI AND LAURA MCLEAN-FERRIS

The title of the 31st Ljubljana Biennial of Graphic Art, OVER YOU / YOU is derived from a note in the corner of a Martin Kippenberger drawing. Seeming like an unresolved equation or a supposition, it orientates understanding toward the instability inherent to reproducible images.

The exhibition extends the framing of the long established term 'graphic art' by drawing on sculptural, filmic, performative and experimental pedagogical modes to explore both formal and socio-political characteristics of an expanded field of reproduction methodologies.

For his installation 12 figures (after Niccolò) studies in collective anxiety, Hazewinkel has recast twelve versions of an 1885 copy of the 1432 terracotta portrait bust of Niccolò da Uzzano attributed to the Renaissance master Donatello. In doing so Hazewinkel employs a deliberately imprecise casting technique that draws our attention to the layered historical developments as well as the material implications and expressive potentials of reproduction technologies.

Working in plaster with a pliable silicon mould, Hazewinkel misaligns the mould's three parts and subjects each casting experience to a unique set of external physical pressures. This produces a result whereby each figure bears its own characteristic imprint of the mould's seams which appear as ruptures that suggest of a slip or glitch in the process of faithful reproduction.

These ruptures,  evocative of geological strata and fault lines, impart each figure with a powerful sense of violence and uncertainty while raising issues that speak to the flexibilities and residual imperfections inherent in mass reproduction techniques as well as hand made efforts. As such, this field of versions is a powerful, haunting meditation on the complex notions of authority that is often associated with conventional conceptions of the original. It also importantly reminds us that sculpture bears physical witness to human experience which is cast here as a fixed and fractured field.

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