March 27–May 12, 2019
Melissa Gordon: Shits and Giggles
For her third solo exhibition at Deweer Gallery, Shits and Giggles, American and British artist Melissa Gordon (b. 1981, Cambridge, USA) has made an environment of larger than human scale paintings with a special focus on body, consumption, gender, feminism and the act of painting. The works bear an assembly of Gordon’s characteristic “gestures”—varying from hanging ready-mades, photos and expressive traces of thick paint, to silkscreen prints of garments, words or digital drawings. All gestures are applied on a grid, an imaginary space referring to the abstraction of scale (and the possibility of being “hung on”). With a playful and critical touch, the artist questions the value of gestures in all its liquidity and multitude of layers—oscillating between figuration and abstraction, surface and depth, the visible and the hidden, the réal reality and the pictorial world, presentation and representation.
Gabriele Beveridge: Skin For Either One
Permeated by the vocabulary of consumer culture, Gabriele Beveridge (b. 1985, Hong Kong) creates an enigmatic visual language. For her second solo exhibition at Deweer Gallery, Skin for Either One, she works with familiar and new methods. In analogy with her first show at the gallery, Beveridge again displays an unorthodox hybrid between sculpture, photography and installation. The artist drapes hand-blown glass over found, cosmetic store panels and brackets in shiny chrome used in shops to hang clothes on. For the first time however, she also applies these transparent glass objects to chemigrams (read: photographic paper painted on with chemicals from the beauty industry). The result is ambiguous: fragile and distant, familiar and strange. And above all: poetic, mysterious and seductive.
Andy Wauman: Second Run Romance
Second Run Romance is a solo exhibition featuring seven super-sized buttons made by poetic anarchist Andy Wauman. “A button or a pin is a badge serving a decorative or communicative function. Buttons play an important role in youth culture whose members identify closely with the printed slogan or image, as they strive to develop their own self-identity. Whereas this means of self-expression usually incorporates a political message, Wauman’s super-sized buttons, in contrast, constitute a form of artistic identity.” (Lieven Van Den Abeele) The slogans and visuals on the buttons are direct bearers of messages that often originate in Wauman’s work as a poet.
Antonius Höckelmann: Revisit
extended until May 12, 2019
