14/14
PIXEL, 2009
Keramik
74
× 20
× 20 cm
13/14
Vorne | in the foreground:
A CASSETTE EXTANT (VESPULA VULGARIS), 2009
mixed media: Gips, Stahl, Filz, Messing, Eisen, Holz, Lack, Videotape, Buckram 172
× 31
× 31 cm
12/14
UNTITLED (THE SCENT OF A ROSE OR ANY OTHER KIND OF FLOWER), 2009
mixed media: mit Pigmenten versetzter Polyurethan-Schaum, Buckram, Stahlkette, gewebter Flachs, Holz, Seil ) 80
× 50
× 50 cm
11/14
SUN, 2009
mixed media: Lampe, Kabel, Filz
28
× 30 cm
10/14
BURMUS, 2009
pulverbeschichteter Stahl, Leinwand, Messing, Bronzepuder in Acryl
220
× 640 cm
9/14
Raumansicht | Installation view
8/14
Raumansicht | Installation view
7/14
Raumansicht | Installation view
6/14
A COMPREHENSIVE ILLUSTRATION OF DEGREDATION, 2009
Siebdruck (Tinte) auf handgeschöpftem Papier
79
× 55 cm
1/4 + 2/4
5/14
Raumansicht | Installation view
4/14
IN LIEU OF A WREN, 2009
mixed media: pulverbeschichteter, Stahl, Buckram, Leinen, Holz, Öl, Messing 177
× 240 cm
3/14
FROM DIGGING A HOLE TO ABETTING AN INDEX, 2009
mixed media: Stahl, Farbe, Holz, Buckram, Aluminium, Messing, Haar, Keramik, Kunststoff, Zement, Eisen, pulverbeschichteter Stahl 173
× 101
× 101 cm
2/14
VARIATIONS IN THE DEGREDATION OF ROIRO, 2009
Siebdruck (Tinte) auf handgeschöpftem Papier, 4-teilige Arbeit 79
× 55 cm 2/4 + 3/4
The Ground Is Good is concerned with the fragments revolving around the problems of deploying materials, artifacts and documents, and with their subsequent manifestation as an array – from the squelching material genesis as indivisible substrate via the condescension inherent in the hierarchies of production and conferred status to an aimless inspection of the shifting institutional and archival trends that influence the taxonomies of display. The presentation is an attempt at artificial re-pupation (from moth to caterpillar) using tools from a very particular and depleted arsenal. The works create a temporary climate in which to examine the vacillation between 'earth' (material) and 'world' (culture). Dionysus versus Apollo. Then there is the conceit of hindsight that we, in the late Holocene, employ as a historical perspective in order to comodify, reorder and digest the recent and distant past.This constructed (fictional) retrospective apparatus is of course self-serving, lineal, insufficient and more or less unusable. So what? The ground is good."
Steven Claydon
Steven Claydon, also known to many as a musician in the all-electronic band Add N to (X), was born in 1969 in London, where he still lives and works.His last exhibition in Munich took place in 2007, when he participated in a sculpture exhibition at the Rüdiger Schöttle Gallery. He will be taking part in a group exhibition - "Goldene Zeiten" – at the Haus der Kunst in Munich in 2010.
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