Contemporary Art in the Americas Arte Contemporáneo en las Américas

A Noiseless Patient Spider

Linnea Kniaz

VACANCY Los Angeles, California, USA 10/22/2016 – 11/26/2016
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Exhibition view (from left to right): Situated Sequence 2. Plexi, cement block, brick, foam, acrylic on wall, plaster dust; Situated Sequence 3 (with Paul Pescador). Foam, plexi mirror, acrylic. Courtesy of VACANCY, Los Angeles.

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Situated Sequence 4. Variable dimensions; wire, foam, plexi mirror, acrylic. Courtesy of VACANCY, Los Angeles.

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Exhibition view (from left to right): Untitled 11. Gouache on paper, wood, plaster, drywall tape, wire, acrylic; Untitled 10. Gouache on paper, wood, plaster, drywall tape, wire, acrylic; Untitled 9. Gouache on paper, wood, plaster, drywall tape, wire, acrylic. Courtesy of VACANCY, Los Angeles.

Linnea Kniaz’s first post-MFA solo exhibition finds the artist extending her sculptural, painting-based installations to the architecture of the gallery space. 55” above the floor, Kniaz has embedded a 2×2” rail around the entire perimeter of the gallery, plastered in and painted white. Along one side of the space this thin shelf lifts off the wall entirely, itself remaining straight as it serves to emphasize the curvature of the gallery’s own construction. Temple against the wall, you might be able to see a tiny sliver of red, or maybe just its mauvy reflection, glowing against the bend in the wall: a gentle indicator of the subtleties at play throughout Kniaz’s installation.

By the front window several small sculptures dot the floor; a sparing assemblage of objects made out of wood, foam, paper, wire, polyester, brick and paint. A leafless branch and painted chair leg lay nearby; a giant California pine cone props up a small wooden table. These structural materials are at once withdrawn yet fully nude, performing an open ecology where objects and their surroundings begin to take on each others’ characteristics. They challenge the viewer with a whole composed from similar yet indeterminate parts; a unified presence of spatial, material, and teleological uncertainty.

Drawing inspiration from the Supports/Surfaces movement of the late 1960s, Kniaz’s sculptures expose a hidden poetics masked on the borders of painting and architecture. In a circular dance, her work often begins from the measurements of its containing room. There is an open precariousness to her gestures, producing a constant tension between what makes a work spatially dependent or stand alone. Often departing from language, here the etymology of the word “patient” is put to work in two ways: as n. something requiring an action and adj. – bearing or supporting. A Noiseless Patient Spider hangs in a window between two rooms, steadily scoring its own choreography of space.

http://www.vacancyla.com/

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Exhibition view (from left to right): Situated Sequence 2. Plexi, cement block, brick, foam, acrylic on wall, plaster dust; Situated Sequence 3 (with Paul Pescador). Foam, plexi mirror, acrylic. Courtesy of VACANCY, Los Angeles.

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Situated Sequence 4. Variable dimensions; wire, foam, plexi mirror, acrylic. Courtesy of VACANCY, Los Angeles.

lk-39

Exhibition view (from left to right): Untitled 11. Gouache on paper, wood, plaster, drywall tape, wire, acrylic; Untitled 10. Gouache on paper, wood, plaster, drywall tape, wire, acrylic; Untitled. Gouache on paper, wood, plaster, drywall tape, wire, acrylic. Courtesy of VACANCY, Los Angeles.

Linnea Kniaz’s first post-MFA solo exhibition finds the artist extending her sculptural, painting-based installations to the architecture of the gallery space. 55” above the floor, Kniaz has embedded a 2×2” rail around the entire perimeter of the gallery, plastered in and painted white. Along one side of the space this thin shelf lifts off the wall entirely, itself remaining straight as it serves to emphasize the curvature of the gallery’s own construction. Temple against the wall, you might be able to see a tiny sliver of red, or maybe just its mauvy reflection, glowing against the bend in the wall: a gentle indicator of the subtleties at play throughout Kniaz’s installation.

By the front window several small sculptures dot the floor; a sparing assemblage of objects made out of wood, foam, paper, wire, polyester, brick and paint. A leafless branch and painted chair leg lay nearby; a giant California pine cone props up a small wooden table. These structural materials are at once withdrawn yet fully nude, performing an open ecology where objects and their surroundings begin to take on each others’ characteristics. They challenge the viewer with a whole composed from similar yet indeterminate parts; a unified presence of spatial, material, and teleological uncertainty.

Drawing inspiration from the Supports/Surfaces movement of the late 1960s, Kniaz’s sculptures expose a hidden poetics masked on the borders of painting and architecture. In a circular dance, her work often begins from the measurements of its containing room. There is an open precariousness to her gestures, producing a constant tension between what makes a work spatially dependent or stand alone. Often departing from language, here the etymology of the word “patient” is put to work in two ways: as n. something requiring an action and adj. – bearing or supporting. A Noiseless Patient Spider hangs in a window between two rooms, steadily scoring its own choreography of space.

http://www.vacancyla.com/

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