October 21 - November 18, 2006
gallery.sora. is pleased to announce the debut solo exhibition in Japan of Norwegian-born, New York based artist Gardar Eide Einarsson as well as the debut of American-born, New York based artist Banks Violette. Each artist has been the included in numerous international museum exhibitions; Banks Violette’s work was recently featured in a solo exhibition at the Whitney Museum of American Art, New York (2005) as well as the Museum Boijmans van Beuningen, Rotterdam, the Migros Museum fur Gegenwartskunst, Zurich and the Museo de Arte Contemporaneo de Castilla y Leon, Leon (all 2006). Gardar Eide Einarsson has participated in exhibitions at the Kunsthalle Bern, Bern (2005), Kunstwerke, Berlin (2004) as well as the Whitechapel Project Space, London (2003).
The gallery.sora. exhibition is a two-person show; while both artists deal with similar aesthetic issues and create work in sympathy, each has a distinct visual vocabulary and unique manner of presentation. Banks Violette works in the multiple media of sculpture, painting and drawing; his installations have also incorporated the use of soundtrack. Gardar Eide Einarsson makes paintings, wall text works and sculpture and has experimented in the media of theater, having staged the infamous “Unabomber” Theodore Kaczynski’s play Ship of Fools at the Swiss Institute, New York (2006).
Both artists appropriate the signs of subculture. Re-presented within what is understood as the neutral space of the gallery, the meaning of images referencing and directly drawn from punk, death metal and other supposedly subversive sub-cultures is complicated. Violette and Einarsson are interested in the actual possibilities that emerge when mediated imagery is “mis-read”; e.g. ritual murders carried out in response to and in participation in an actualized theater of Death Metal.
The gallery.sora. exhibition will afford the artists an opportunity to participate in a dialogue drawing upon the differences which inevitably emerge when artists from different backgrounds engage the same source material. This further complication opens the work of each artist to varied interpretations and, perhaps, a reading which may prompt action beyond the confines of the gallery space.