John wood and paul harrison biography sample
Thirty Shades of White
Thirty Shades of White
Paris, France
Pierre Ardouvin (1955); Robert Barry (1936); Lisa Beck (1958); Oliver Beer; Florian Bézu; Ulla von Brandenburg (1974); Matthew Chambers (1982); Martin Creed (1968); Trisha Donnelly (1974); Thomas Fougeirol; Fernanda Gomes (1960); Julian Hoeber (1974); Shila Khatami (1976); Jiří Kovanda (1953); Rodrigo Matheus; Fabien Merelle (1981); Julien Nédélec; Camila Oliveira Fairclough; Laurent Pernot; Ana Prvacki (1976); Joe Reihsen (1979); Ry Rocklen (1978); Analia Saban (1980); Yann Sérandour (1974); Florian Schmidt (1980); Sergio Verastegui; Marnie Weber (1959); Lawrence Weiner (1942 - 2021); Zoe Williams; John Wood (1922 - 2012); Paul Harrison;
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London, United Kingdom
[Julius von Bismarck & Benjamin Maus] Bismarck & Maus; Ariel Hassan; Justin Hibbs; AKassen; Christine Sun Kim (1980); Rafael Lozano-Hemmer (1967); Sam Messenger; Manfred Mohr (1938); Diogo Pimentão (1973); Evan Roth (1978); Ignacio Uriarte (1972); John Wood (1922 - 2012); Paul Harrison;
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Wolfsburg, Germany
Francis Alÿs (1959); John Bock (1965); Charles [Charlie] Chaplin (1889 - 1977); Clydea Bruckman; Marcel Duchamp (1887 - 1968); Robert Elfgen (1972); [Peter Fischli *1952 & David Weiss 1946-2012] Fischli & Weiss (1979); Rodney Graham (1949 - 2022); Jeppe Hein (1974); Buster Keaton (1895 - 1966); Szymon Kobylarz (1981); Alexej Koschkarow (1972); Peter Land (1966); Louis Lumière (1864 - 1948); Gordon Matta-Clark (1943 - 1978); Bruce McLean (1944); Steve McQu John Wood (b.1969, Hong Kong) and Paul Harrison (b.1966, Wolverhampton) have been collaborating since 1991 and produced their first work Board in 1993. They explore how we interact with the world around us, highlighting the ordinary, the absurd and the accidental. Wood and Harrison are fascinated by architecture and design and how we engage with our environment in unintended ways. They explore the human tendency to improvise or mess things up, arguably in a good way. Their works form a kind of reference manual for how to do, make, build, or draw things that you probably never want to do, make, build, or draw. They do it for you, even though you didn’t ask them to. During the past 15 years there have been radical developments in their work, shifting from almost exclusively video work to a practice that incorporates multiple ways of examining themes first explored in their screen-based works. Now across video, sculpture, painting and drawing, they continue to demonstrate the triumphs and tribulations of living life and making art. Recent solo exhibitions include: ‘Everything is Black and White’, Galeria Vera Cortês, Lisbon (2021); ‘Bored’, Gallery Cristin Tierney, New York (2021); ‘Words Made of Atoms’, Gallery von Bartha, S-chanf, Switzerland (2020); ‘As logical as possible’, Kunstverein Arnsberg, Germany (2017). Recent group exhibitions include: ‘Beano: The Art of Breaking the Rules, Somerset House’, London (2021); ‘Fresh Window’, MUDAM, Luxemburg (2019); ‘On Struggling to remain present when you want to disappear’, OCAT Museum, Shanghai, China (2018); ‘[Re]construct’, Yorkshire Sculpture Park, Wakefield (2017). Selected solo museum shows: CAMH, Houston, USA; Mori Museum, Tokyo, Japan; Ikon Gallery, Birmingham, UK; Frist Centre, Nashville, USA; Kunstmuseum Thun, Switzerland; Chateau de Rochechouart, France; Ludwig Museum, Budapest, Hungary. Selected group shows: ‘Art Now’, Lightbox, Tate Britain, London / ‘Slapstick’ Kunstmuseum, Wo A 2006 essay by artist Ian White gently chided what he saw as the default critical approach to John Wood and Paul Harrison’s short, epigrammatic films and sculptures: a rush to immediate, endless comparison with historical examples of Minimalism, Conceptualism, process art, philosophy, absurdism, slapstick, and more. However, White (having his cake and eating it) also listed a few dozen of the usual comparators, including Donald Judd, Bruce Nauman, Buster Keaton, Laurel and Hardy, Yvonne Rainer, Maurice Merleau-Ponty, and Samuel Beckett. He thought this contextual “stickiness” was mere reading-in, but that’s debatable. Wood and Harrison might not intend each and every one of these comparisons, but the availability of their work for multiple art-historical (and other) associations seems entirely strategic. White’s list overlooked Roman Signer—oddly, since the artists themselves are admirers and Signer’s influence seems clear. Included in their recent exhibition “An Almost Identical Copy” was Semi-Automatic Painting Machine, 2014, a video featuring some classic Signeriana (white shirts, rubber Wellingtons, a push-bike, an umbrella, and so on) among its props. Batteries of mechanized sprays bombard the objects with black, white, or brightly colored paint, bringing them into relief, making them disappear, or treating them as stencils (this last tactic has been employed several times by Signer). On one level, the video seems to be an homage—but the comparison highlights the differing trajectories of the two practices. While Signer’s work has become increasingly tolerant of “contaminants”—history, biography, pathos, sense of place—this show revealed Wood and Harrison to be steering toward a subtly unsettling, rather clinical abstraction. Semi-Automatic Painting Machine takes place in a white cube stocked with flawless, generic, imperishable o - El Lissitzky: Das Selbstbildnis als Kestner Gesellschaft Der neue Mensch, der Ansager, der Konstrukteur - 'El Lissitzky: Das Selbstbildnis als Kestner Gesellschaft' Hannover, Germany Michelangelo Antonioni (1912 - 2007); Willi Baumeister (1889 - 1955); BEASTER; Johanna Billing (1973); Martin Boyce (1967); Max Burchartz (1915 - 1941); Heinrich Dunst (1955); The Next ENTERprise Architects; Fernanda Fragateiro (1962); Assaf Gruber (1980); [John Wood *1969 & Paul Harrison *1966] Wood & Harrison (1993); Lajos Kassák (1887 - 1967); Marlena Kudlicka (1973); Marysia Lewandowska (1955); El [Lazar Markovich] Lissitzky (1890 - 1941); Felipe Mujica (1974); László Móhóly-Nagy (1895 - 1946); Paulina Ołowska (1976); László [Peter] Péri (1889 - 1967); [Michel Gholam *1963 & Wolfgang Prinz *1969] Prinz Gholam; Florian Pumhösl (1971); Susanne Sachsse (1956); Wieland Schönfelder (1985); Kurt Schwitters (1887 - 1948); Katja Strunz (1970); Nikolaj Michailowitsch Suetin (1897 - 1954); Adam Budak; Robert Knoke; Alexander Wilmschen; - something on the front of a building John Wood and Paul Harrison - 'something on the front of a building' Hannover, Germany [John Wood *1969 & Paul Harrison *1966] Wood & Harrison (1993); Alexander Wilmschen; - Art et GALERIA VERA CORTÊS
John Wood and Paul Harrison
Offers/RequestsExhibition AnnouncementS / G Solo/Group Exhibitions (..) Exhibitions + Favorites Der neue Mensch, der Ansager, der Konstrukteur
Kestner-Gesellschaft G Jul 2023 - Oct 2023 Hannover (576) +0 Budak, Adam (Curator) +0 Knoke, Robert (Curator) +0 Wilmschen, Alexander (Curator) +0 John Wood and Paul Harrison
Kestner-Gesellschaft S Jul 2023 - Oct 2023 Hannover (576) +0 Wilmschen, Alexander (Curator) +0 Eppur si muove