The Other Side and In Between

January 10th- February 28th, 2014

Longhouse Projects is pleased to present an exhibition of works by Ana Cardoso and Christian Bonnefoi. This will be the first show at the gallery for both artists and Bonnefoi’s first in New York in 15 years.  The Other Side and In Between describes a synthesis in both bodies of work. “The Other Side” names a specific material approach to the painting surface, one that convokes a recto-verso relationship; while “In Between” refers to the interstices of collage, placement, installation and display, and the oscillating status of painting as an object.

Cardoso will show new work including wall installations of shifting panels, corner and concrete objects. Some of her modes of display include paintings stacked or piled. The artist’s formal concerns fall somewhere between collage and installation. On the one hand maintaining the material syntax of disjunctive limits and excess, and on the other, using the architecture of the gallery as her frame. Forms and signifiers link and float, and the rawness of the space is made present. Cardoso works in the history of abstraction that concerns itself with the expressive potential of the process and material problematics in painting.

On view will be several works from Bonnefoi’s series Eureka, which refers to the prose poem by Edgar Allan Poe. Made from 1996 to 2009, they examine the relation of four dimensions: the recto, the verso, the thickness between them, and the temporal process – what Bonnefoi calls “the movement of the four.” Laura Lisbon describes this series in her essay Christian Bonnefoi as:

Primarily characterized by divisions and displacements of color – color patches cut together to produce an effect of movement. Many works incorporate a double move or impulse of dividing the already divided, such as cutting divisional lines or displacing the placement of color. Likewise, the visual accessibility through the surface to the stretcher further divides the work by its own structural support, suggesting that painting begins and returns to its own dividedness. (As Painting: Division and Displacement, Columbus, OH: Wexner Center for the Arts, 2001. p. 82)

Consistent with the gallery’s objective to create a forum where artists can engage in a cross-cultural and intergenerational dialogue, Cardoso invited Bonnefoi to exhibit with her. 

Ana Cardoso b. 1978, Lisbon, Portugal, lives and works in New York. Her work has been shown at The Kitchen, New York; Marianne Boesky Gallery, New York; Simone Subal, New York; Galerie Pedro Cera, Lisbon; Maisterra Valbuena, Madrid; Conduits, Milan; Nieuw Dakota, Amsterdam; CCA Ujazdowski Castle, Warsaw; Prague Biennale 5, Prague. In 2010, Cardoso was subject of a 20 min documentary that was part of the series Post 25 of April Generation on ten Portuguese contemporary artists, directed by Alexandre Melo and Abílio Leitão, and broadcasted by RTP2 (Portugal).

 Christian Bonnefoi b. 1948, Salindres, France, lives and works in Gy-les-Nonains and Paris. He is an artist and art historian currently writing a book entitled Traité de la Peinture. Bonnefoi’s small scale retrospective at Maison Hermès, Le Forum in Tokyo runs concurrently with this exhibition. Centre Pompidou held his retrospective in 2008. He was included in the historical show As Painting: Division and Displacementcurated by Philip Armstrong, Laura Lisbon, and Stephen Melville at the Wexner Center for the Arts, Columbus, Ohio. He has held solo exhibitions at P.S.1 Contemporary Art Center, New York; Rothschild Foundation, Paris; Céret Museum of Modern Art, Céret; Guangzhou Museum of Fine Arts, Guangzhou; Musée des beaux-arts d’Orléans; Museum of Modern and Contemporary Art, Nice; Modern Museum of Art, Pittsburgh; and the Museum of Nuremberg.