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D S + R and the bar at the Orangerie, February – March 2013

 

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D S + R and the bar at the Orangerie, February – March 2013
installation view at Bortolami Gallery, New York, 2013

 

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D S + R and the bar at the Orangerie, February – March 2013
installation view at Bortolami Gallery, New York, 2013

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K log 2, Separating Wheat from Chaff #1, 2013
Marble, digital picture frame, material from portfolio, inkjet on clear adhesive vinyl, 43.2 x 63.5 x 2.5 cm

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D S + R and the bar at the Orangerie, February – March 2013
installation view at Bortolami Gallery, New York, 2013

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installation view at Bortolami Gallery, New York, 2013
all: tempered glass, hardware, inkjet on perforated vinyl, 153.7 x 241.3 x 38.1 cm

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installation view at Bortolami Gallery, New York, 2013
all: tempered glass, hardware, inkjet on perforated vinyl, 153.7 x 241.3 x 38.1 cm

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D S + R and the bar at the Orangerie, February – March 2013
installation view at Bortolami Gallery, New York, 2013

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The Intern as Phantom Limb (Back view.) 2013
Tempered glass, hardware, inkjet on perforated vinyl, drain hair, rapid prototype:scanned seaweed – Chelsea market, 158.8 x 246.4 x 38.1 cm

all images courtesy BEN SCHUMACHER

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I grew up in a rural area of Ontario, only seeing sculpture in magazine or on the internet. My first sculpture was actually made to be photographed, and then destroyed. After this I worked on sculpture that could be seen from one vantage point based on architectural restriction, so that the experience was similar to looking at a photograph. Many of my current sculptures are freestanding screens. (…) Digital printing on the screen inverts the implied silence of the material. The digital prints on screen become a surface used to further propel the documentation of a previous works, as well as an additive surface that allows flattened views of adjacent works in the room. – BEN SCHUMACHER in conversation with BOB NICKAS, Mousse Magazine 2012

Through images and sculptural installations, BEN SCHUMACHER explores the interstices of object and image along with diverse ways to conceptualize and present art, both in-situ and online. Clearly preoccupied with controlling the conditions in which his works are viewed (he also customizes the image documentation of all his sculptural output), he is also interested in the capacity of those conditions to challenge the authority of the images.

A few days ago, SCHUMACHER opened D S + R and the bar at the Orangerie, an exhibition at New York’s Bortolami gallery. The show includes architectural models, marble sculptures of cable management racks; lights made from reconfigured Ikea fixtures wrapped in handmade leather sleeves; a series of free-standing glass sculptures with three-dimensional composite prints and vinyl imagery; small figurative paintings; still packaged Ikea shelves set in plexi boxes with inserted rapid prototypes; functioning tablet screens set into marble slabs.

Additionally he collaborated with New York based architecture firm Diller Scofidio + Renfro. An employee from the firm will work in the gallery for the duration of the show, restoring early models from competitions and realized projects. At the office of Diller Scofidio + Renfro, SCHUMACHER installed several works available to the public through images.

Both ‘presentations’ follow BEN SCHUMACHER‘s long-standing interest in the problematics of representation, image production and dissemination. All these different media feed off, reinforce, and disrupt one another, fashioning a composite landscape that reverberates with echoes and citations.

➝ D S + R and the bar at the Orangerie  is currently on view at Bortolami, New York and is running through March 30, 2013.

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