SOCIAL CLIMBING—PART I: ON THE MOVE
August 8 - September 26, 2009
Luis De Jesus is very pleased to announce an exciting, two-part group exhibition titled SOCIAL CLIMBING. The first segment of the exhibition, subtitled PART I: ON THE MOVE will open on August 8 and run through September 26. (Part II will open on October 2 and remain on view through December 5, 2009). You are cordially invited to attend the opening reception for SOCIAL CLIMBING—PART I: ON THE MOVE on Saturday, August 8th, from 6:00 to 8:00 p.m.
SOCIAL CLIMBING—PART I: ON THE MOVE will feature works by over 20 artists, representing a bold and fresh, new generation of San Diego talent, among them many of the best and brightest to emerge in a reenergized San Diego art scene over the past few years. The exhibition will explore a wide range of media, from painting, sculpture, collage, and drawing to video, photography, neon, and installation. Participating artists in PART I: ON THE MOVE will include (in alphabetical order): David Adey, Seth Augustine, Lael Corbin, Moya Devine, Deanna Erdmann, James Gielow, Vero Glezqui, Aldo Guerra, Matthew Hebert, Alexander Jackson, Alexander Jarman, Silvia Karabashlieva, Gretchen Mercedes, Lee Puffer, Andy Ralph, Jason Sherry, Robert Twomey, Joseph Yorty, and others. A number of these artists have been presented by Seminal Projects in solo and group exhibitions as well as at art fairs in Miami and Los Angeles.
Behind its pithy, tongue-in-cheek title, SOCIAL CLIMBING offers an ambitious and thought-provoking strategy: an exhibition organized in the form of a continuously changing group show. Over the course of each segment, artworks will be rotated and re-installed alongside different works, allowing them to be considered in new contexts. A work may also be replaced with another one by the same artist, or by an unscheduled, spur-of-the-moment surprise. This ad-hoc "shuffle" strategy will allow SOCIAL CLIMBING to circumvent the traditionally static presentation of many gallery and museum exhibitions and a format that often assigns a prescribed meaning to each artwork within the context of a themed group exhibition. This freedom to mix it up as and when we wish will allow us to literally reinvent the show and find new connections between the artwork exhibited, altering not only the way the individual works and the exhibition are understood and appreciated, but, consequently, of the critical discourse that follows.
SOCIAL CLIMBING takes its cue from legendary New York art dealer Paula Cooper, who in the first years of her SoHo gallery, in the late 1960s and early ‘70s, would change the location of works over and over again during the course of an exhibition, typically lasting several months or more. Through this approach Cooper was able to "show how different works can clarify the information contained in each other by their differences or seeming similarities, and can introduce a dialogue." Thus, a visitor to a particular show might have discovered a Donald Judd next to a Carl Andre, and, a few weeks later, on a different wall in another location of the gallery, find the same Judd installed next to a Keith Sonnier or a Jackie Winsor.
SOCIAL CLIMBING can also be understood as a critique of the gallery space as real estate and the idea of "positioning" in today’s art world, questioning the very notion of prominence and status among artists and its web of hierarchies. A wide range of personal and social themes will be explored throughout the individual works.