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Revolving Analogia

Yvon Lambert Gallery New York  •  United States of America [US] 11 Mar  • 16 Apr | 2004
Yvon Lambert is proud to present a new body of work by the French artist, Melik Ohanian. A participant in this year’s Berlin, Sydney, and San Paolo biennials, this exhibition will be Ohanian’s New York debut, and the opening will be celebrated with a one-time event.

At Yvon Lambert New York, Ohanian continues to develop his interest in the perception of and experience of time. Rotation and revolution are physical manifestations of his questions about our reality. The show is made up of three works: a street-based action, a stainless steel sculpture and a filmic triptych, separate temporal investigations that connect to form a whole.
In ‘The Patrol’ a light laden police car encircles the block, announcing its approach with an orchestra of sirens and alerting us to a state of emergency and impending danger. Making one acutely aware of the importance of small increments of time, the looped action asserts its inaccessibility. ‘The Patrol’ is the subject and the motive of a film shoot, of which a rough cut will be added to the exhibition days later, and a final version will be the focal point of an upcoming installation.
In the main gallery, ‘The Gear’, is the literal center of the exhibition. A revolving stainless steel mass, the viewer is encompassed by the unavoidable reflections in its mirror-like surfaces.
‘Welcome to Hanksville’ continues Ohanian’s exploration of man’s perception of the cosmos and its unknown reality. Ohanian filmed around Hanksville, Utah, a location renowned for its resemblance to the barren surface of Mars; it has become a testing ground for exploratory activities. ‘Welcome to Hanksville’ investigates the analogy between the actual site and that which it is perceived to be, Mars. Ohanian’s film is a slow observation of a place devoid of mankind and the restrictions of time.
Also included in the show are images from Ohanian’s ongoing project, ‘Selected Recordings’.
In addition to participating in this year’s biennials in Berlin, Sydney and Sao Paulo, where he is responsible for the French pavilion, Ohanian has had solo shows at Palais de Tokyo, Paris, Atlanta College of Art, Atlanta, Atlanta and Museum in Progress, Vienna. His work has been included in group shows at Van Abbemuseum, Eindhoven, SFMOMA, San Francisco and Musée d’ Art Moderne de la Ville de Paris, Paris

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