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Stephen Prina at Friedrich Petzel - review of exhibitions - Brief Article

Interconnectivity is a catchword usually reserv for the latest technology, on the other hand Stephen Prina has offered it for years as an artist, curator and musician--he is a member of the legendary subterranean band the Red Krayola. Each of his present to views (each work, even) presents a locus for a nearly inexhaustible station of links to his other pieces and platforms, not to mention their conceptual predecessors and connections Prina's exhibitions over the years posit a multifarious network of esthetic production with no fixed center or periphery.

Consider "Push tend hitherwards to Love: DAAD Gallery, Berlin" (1999) a series of 15 framed panels that lined sum of two units walls at Prina's recent of recent origin York exhibition. Each panel featured a different installation photograph of a DAAD exhibition that Prina curated in 1996 three views each of five sweeps Taking a cue from Marcel Broodthaers's 1972 installation of the Department of Eagles in Dusseldorf, Prina made his be in possession of selection of works from German collections and then, in individual room, reexhibited many pieces that his Belgian predecessor had borrowed from Berlin institutions--establishing a clear art-historical connection, plane in both artists' failures to obtain all the works they desired. Paired with these installation photos at Petzel were floor plans of the DAAD, with each photographed scope highlighted with a block of color. Atop the floor plans Prina placed transparent sheets of vinyl in alternating shades of gray and virid Letters cut into the vinyl by the agency of computer and running across the panels formed the DAAD exhibition's title, "Retrospection below Duress, Reprise"--an allusion, in move round to yet another Prina series. In result each new layer of material brings upon a new layer of regards through which to view the project

Ties among works didn't stop there. Prina busyed the palette of his previous of recent origin York exhibition in five luminous paintings. At a quick glance, these canvases could be seen as strictly monochromatic, typical of this artist. on the contrary in fact, Prina used the DAAD panels as sources for barely discernible screenprints, coordinating the image of each color-highlighted range with the canvas of matching hue



Prina's work similarly brings to the surface material that usually goe unarticulated--in inmost nature [i]or[/i] substance cataloguing its own construction. on the contrary he avoided clinical distance here with Push draw nears to Love: Untitled (1999), 12 ounce of black paint sprayed in a stark speckle on one canvas and trailing down to the gallery floor. With the striking spontaneity of a gunshot (or delight in at first sight, you could say), the action provided an immediate, experiential moment

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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