Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


Systems of rules and ordering principles–structures that organize our surroundings and our behavior–are a central theme in the work of Angela Bulloch. The artist combines light, sound, text, video, and objects to create multidisciplinary installations that explore interconnections between digitality and historical Modernism. One concrete implementation of this issue is the Pixel Box, a three-dimensional object that can be programmed like a 16-million-color monitor by means of a modular RGB light system. Pixel stands for "picture element" and is the smallest unit in the display of a screen image. The rectangular form of the pixel box is also reminiscent of Minimal Art, such as works by Dan Flavin or Donald Judd with their focus on geometry, reduction, and color compositions.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


At the Secession, Angela Bulloch is showing a new series of pixel boxes. The boxes are both architecture and figure, and this synthesis–a classic avant-garde interface–is the focus of To the Power of 4., as the show is entitled. Angela Bulloch works with the tension between geometrical grid patterns (floor and ceiling design in the main space, form of the box) and organic bodies, extending their relationship by means of projections onto and into the boxes. In this context, the factors of "time" and "movement", like the notion of the "pixel", are to be understood not as physical units but as a logical principle–as a conceptual space.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


Life-size projections of a dancer, an actor, and a performance artist, on one of the aluminum-clad outside surfaces, give the boxes individual character. The choreographies and the way they are shown on/in the box refer to historical and contemporary forms of experimental theatre and expression.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


Arranged loosely in an open, stage-like mise-en-scène, the pixel boxes break the geometrical order of the space. Angela Bulloch combines the series of three large boxes with two smaller formats. Each of the three groups follows a visible, inner logic: the connecting wires create spatial links between the boxes, while color and rhythm establish visual relations.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


In the side aisles, Angela Bulloch uses the gallery's own wall system to create maze-like zones for further works: Flexible Single (Lobster/Tilleul) (2001) and Video Sound System (1997/2004) are both display systems. Like the pixel boxes, these works are characterized by the relationship between body, architecture and mediality.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


The multipart installation Flexible Single (Lobster/Tilleul) comprises a series of twelve tables, six short and six tall, each in six different colors. On each short and tall table of the same color, a print of a lobster or a garden is presented under glass. For the Secession, Angela Bulloch has selected eight tables: they can be recombined in numerous ways, serving the artist as a display for further works–including print-outs and posters–that are closely related to the overall concept of the show.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


Video Sound System (1997/2004)is a set of monitors and benches forming an architecture for the viewing of videos that was originally designed for the London Electronic Art Gallery (LEA). Video Sound System can be used as a flexible display for different videos selected by the artist to fit each specific exhibition context. In the piece's reduction to the bare essentials, film also becomes an experience that is visual and physical, phenomenological and social.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


PUBLICATION

Katalog ANGELA BULLOCH

11 pages, 31 color illustrations
author: Dominic Eichler
Secession 2005

___________________

available in the shop


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


EXHIBITION DISCUSSION
Thursday, November 10, 2005, 6 p.m.
with Angela Bulloch and Cerith Wyn Evans
Chair: Brigitte Huck
An event of Friends of the Secession.


Angela Bulloch, To the Power of 4., 2005, Secession
Angela Bulloch, To the Power of 4., 2005, Secession


ANGELA BULLOCH, born in 1966 in Rainy River, Canada, lives and works in London and Berlin
SOLO SHOWS (selection): 2005 Modern Art Oxford; Le Consortium, Dijon; The Missing 13 th, Galeria Helga de Alvear, Madrid; 2004 Antimatter, Galerie Eva Presenhuber, Zurich; 2003 New Work 8: Angela Bulloch, World Reflections, Aspen Art Museum, Aspen Colorado; Matrix 206: macromatrix for your pleasure, BAM/PFA-Exhibitions, Berkeley; 2002 Macro World - One Hour 3 and Canned, Schipper und Krome, Berlin; Angela Bulloch, Institute of Visual Culture, Cambridge, UK; Chain, Galerie Micheline Szwajcer, Antwerp; 2001 Z-Point, Kunsthaus Glarus; 2000 Prototypes, Galerie Hauser & Wirth & Presenhuber, Zurich; From the Eiffel Tower to the Riesenrad, Kerstin Engholm Galerie, Vienna
GROUP SHOWS (selection): 2005 Ambiance - Auf beiden Seiten des Rheins, K21, Kunstsammlung NRW, Düsseldorf; Extreme Abstraction, Albright Knox Gallery, Buffalo; Bidibidobidiboo, Fondazione Sandretto Re Rebaudengo, Turin; 2004 Playlist, Palais de Tokyo, Paris; Performative Architektur, Galerie der zeitgenössischen Kunst, Leipzig; One on One, Van Abbemuseum, Eindhoven; Vilette Numerique, Parc et Grand Hall La Vilette, Paris; ein-leuchten, Museum der Moderne, Salzburg; 2003 Utopia Station, Venice Biennial; It's in our hands, Migros Museum für Gegenwartskunst, Zurich; Einbildung - Das Wahrnehmen in der Kunst, Kunsthaus Graz; 2002 Remix, Tate Liverpool; Claude Monet.bis zum digitalen Impressionismus, Fondation Beyeler, Riehen/Basel; Shanghai Biennial; Touch: Relational Art from the 1990s and now, San Francisco Art Institute; Frequenzen (Hz.). Audivisuelle Räume, Schirn Kunsthalle, Frankfurt; 2001 Arbeit Essen Angst, Kokerei Zollverein, Essen; art>music, Museum of Contemporary Art, Sydney; Connivence, Biennale de Lyon



Installation shots: Matthias Herrmann



The exhibition is supported by:
Zumtobel Staff Österreich

The exhibitions are realized through support of:
Erste Bank – Partner of the Secession
Bundesministerium für Unterricht, Kunst und Kultur
Wien Kultur
Friends of the Secession
Zumtobel Staff Österreich



KLUB ZWEI     EDITIONEN EXHIBITION PROGRAM 2005



For further information and photographic material please contact:
 
Karin Jaschke
Secession, Association of Visual Artists Vienna Secession
Friedrichstraße 12, 1010 Vienna
Tel: +43-1-5875307-21, Fax: +43-1-5875307-34
presse@secession.at