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Daragh Reeves
Opening Hours
21 October – 2 December 2017
Several of the works in Daragh Reeves's current exhibition at andriesse eyck galerie engage with time. They mark time or are marked by time. They are marked by how we quantify and measure time, translate it into, say, the marks or notches of a clock-face. Time also transforms several of the works in the exhibition, pulling them into another type of materiality or medium. Thus, the poster at the entrance of the gallery, titled Open and Shut, functions as a film. The image on its front surface is of a jeweler's shop window display stripped of its jewels. On the back of the poster are images of the jewels themselves, positioned as if on the display. When sunlight hits the poster, the jewels appear on the previously empty display, mimicking the way in which jewelers remove their wares at the end of the workday and replace them in the morning. Just as the poster is a film, so the 16mm film in the exhibition, titled Working Model, functions as a wristwatch. The film shows a wristwatch, and with each passing frame, the time on the clock-face shifts by a single second. As the film itself is projected at one frame per second, so the visible and audible progression of the frames is perfectly synched with that of the wristwatch it depicts.
The works in Reeves's exhibition are animated by subtle discrepancies between form and function, medium and material, materiality and temporality. In fact, one could even say that they operate by means of these discrepancies. In another projection piece, this time of 35mm slides, the same image of Jorge Ben playing the guitar is projected in three component parts by three different slide projectors. One projects an image of Jorge Ben, the second projects an image of his guitar, and the third projects an image of the background. Each element has been isolated and cut from the same photograph. As viewers move in front of the projectors, they successively block out each of the constitutive parts of the image. As in other pieces by Reeves, the composition of this work is both loose and precise. Its different elements balance each other but also balance on or by means of one another, in an equilibrium whose apparent lightness of touch masks its underlying rigor.
Also in the show are a series of other works, such as Screen Saver 1, a short video made for a model of a series of marble screens that Reeves designed for the different film and video image formats in use today. Other works reveal the different ways in which Reeves has engaged with the inherently modern medium of collage. Throughout these diverse works, what emerges is less a thematic or formal coherence than what one might call a philosophical unity. What Reeves shows us is that works of art are neither intended nor created. They are instead occasioned. Reeves's nimble artworks speak to an activity that is rooted in a profound receptivity, not just to things in the world, but more importantly to the way in which they can be made to function and communicate differently: a poster as a film, a film as a wristwatch, and an exhibition as a translucent screen for the moving image of the world outside its walls.
Julien Bismuth
Opening Hours
21 October – 2 December 2017
Several of the works in Daragh Reeves's current exhibition at andriesse eyck galerie engage with time. They mark time or are marked by time. They are marked by how we quantify and measure time, translate it into, say, the marks or notches of a clock-face. Time also transforms several of the works in the exhibition, pulling them into another type of materiality or medium. Thus, the poster at the entrance of the gallery, titled Open and Shut, functions as a film. The image on its front surface is of a jeweler's shop window display stripped of its jewels. On the back of the poster are images of the jewels themselves, positioned as if on the display. When sunlight hits the poster, the jewels appear on the previously empty display, mimicking the way in which jewelers remove their wares at the end of the workday and replace them in the morning. Just as the poster is a film, so the 16mm film in the exhibition, titled Working Model, functions as a wristwatch. The film shows a wristwatch, and with each passing frame, the time on the clock-face shifts by a single second. As the film itself is projected at one frame per second, so the visible and audible progression of the frames is perfectly synched with that of the wristwatch it depicts.
The works in Reeves's exhibition are animated by subtle discrepancies between form and function, medium and material, materiality and temporality. In fact, one could even say that they operate by means of these discrepancies. In another projection piece, this time of 35mm slides, the same image of Jorge Ben playing the guitar is projected in three component parts by three different slide projectors. One projects an image of Jorge Ben, the second projects an image of his guitar, and the third projects an image of the background. Each element has been isolated and cut from the same photograph. As viewers move in front of the projectors, they successively block out each of the constitutive parts of the image. As in other pieces by Reeves, the composition of this work is both loose and precise. Its different elements balance each other but also balance on or by means of one another, in an equilibrium whose apparent lightness of touch masks its underlying rigor.
Also in the show are a series of other works, such as Screen Saver 1, a short video made for a model of a series of marble screens that Reeves designed for the different film and video image formats in use today. Other works reveal the different ways in which Reeves has engaged with the inherently modern medium of collage. Throughout these diverse works, what emerges is less a thematic or formal coherence than what one might call a philosophical unity. What Reeves shows us is that works of art are neither intended nor created. They are instead occasioned. Reeves's nimble artworks speak to an activity that is rooted in a profound receptivity, not just to things in the world, but more importantly to the way in which they can be made to function and communicate differently: a poster as a film, a film as a wristwatch, and an exhibition as a translucent screen for the moving image of the world outside its walls.
Julien Bismuth
Kunstwerken
Articles
Media
Highlights
Over de kunstenaar
In collectie van
Tentoonstellingen
Marktpositie
CV
Aangeboden kunstwerken van Daragh Reeves
Media
the fountains of new york part I
Tentoonstellingen
Marktpositie
Reeves studied art in London (BA, Camberwell College of Arts), New York (MFA School of Visual Arts) and Amsterdam (de Ateliers). He has recently completed work residencies in Rio de Janeiro (Capacete) and Japan (Arts Maebashi).
CV
Daragh Reeves
Leeds, U.K. , 1974 – lives in Brussels and Berlin
Education
2000 MFA, Fine Art, School of Visual Arts, New York
1997 BA Hons, Fine Art, Camberwell College of Arts, London
Solo Exhibitions
2017 Opening Hours - andriesse eyck galerie, Amsetrdam
2014 The Guilty Machine – Neumeister Bar-Am, Berlin
2012 Translucent Screen – Capacete, Rio De Janeiro
2011 Rebel Without a Cashew – Ellen de Bruijne Projects, Amsterdam
Rue de la Rue – 1646, Den Haag
2008 Jeans & T-Shirts, Ellen de Bruijne Projects, Amsterdam
2007 The Fountains of New York – Oporto, Lisbon
2005 The Fountains of New York – W139, Amsterdam
Disguise For A Light Bulb – Club Elf, Amsterdam
2004 The Reality of Acting - de Ateliers, Amsterdam
Une Borghese Piccolo – Ellen de Bruijne Projects, Amsterdam
Group Exhibitions
2018 Art Rotterdam
2015 The People under the Stairs - Jazz Bar, Munich
2013 Body Building – Neumeister Bar-Am, Berlin
Eye Film Institute Netherlands, Amsterdam
Bourgeois Leftovers – de Appel, Amsterdam
2012 Teatro Ipanema, Rio De Janeiro
2011 Special Edition: Drawings on Hands – Print Room, Rotterdam
Shapes – Sammlung Haubrok, Berlin
Zomertentoonstelling – Paul Andriesse, Amsterdam
2010 Winter Drawings – Ellen de Bruijne Projects, Amsterdam
2009 Wir Verbessern Ihre Arbeit – Galerie Sandra Bürgel, Berlin
Dealing with Fear – Akademie Schloss Solitude, Stuttgart
2008 Cover = Reencenação + Repetição, Museu de Arte Moderna de São Paulo, São Paulo
Mr. Deeds Comes to Town – W139, Amsterdam
März Neubauviertel Musik, Berlin
Photostories – Miss Mick’s, Berlin
Summer Mixtape Volume One - The Get Smart Edition – Exit Art, New York
2007 Drawing Typologies – Stedelijk Museum, Amsterdam
The Go Between – de Appel, Amsterdam
Someone Makes A Phone Call And The Sun Goes Down – Artis, Den Bosch, NL
Jamaica, Queens Thing – The Jamaica Center for Arts and Learning, New York
The Future of Life – Kathleen Cullen, New York
2006 Denkt Allen – 85 Gallery, Antwerp
4 Statements – Galerie Ursula Walbrol, Düsseldorf
2005 Wanakio – Maejima Art Center, Okinawa, JP
Liste Young Art Fair – Ellen de Bruijne Projects, Basel
Props For A Romantic Comedy – Longwood Art Center, New York
2004 Beginning Here : 101 Ways – Visual Arts Gallery, New York
Drawing Out Loud – HDC Gallery, New York
Group Show – de Ateliers, Amsterdam
86 – de Ateliers, Amsterdam
2003 White Meat & Sunlite – Wiensowski & Harbord, Berlin
Art-Link Ueno-Yanaka – Landmark Public Art Project, Tokyo
Lost Space – Viewing Platform, London
Residencies & Awards
2012 Capacete, Rio de Janiero
2009 Capacete, Rio de Janiero
2008 Civitella Ranieri, Italy
2006 Basis Subsidy, Fonds BKVB, NL
2004 de Ateliers, Amsterdam
1998 Fulbright Scholarship, U.K.
Bibliography - Press:
2011 shapes, haubrokshows, exhibition review, Monopol
Daragh Reeves, ‘Curated’, exhibition review, Metropolis M
Rue De La Rue: Bart Rutten in conversation with Daragh Reeves, exhibition review, 1646
Rebel Without A Cashew, exhibition review, Kunstbeeld
Den Haag Revival, exhibition review, Metropolis M
2010 Domino Kingdom 1. The Kick Off, Domino Kingdom
Caderno SESC Video Brasil 6, SESC / Video Brasil
nY, exhibition review, Yang / Freespace Nieuwzuid
Drawings on Hands, J+L Books
Tropical Intelligence, Spike
2009 Wir Verbessern Ihre Arbeit, Instituto Divorcado, Galerie Sandra Bürgel
2008 Cover, Reencenação + Repetição, Museu de Arte Moderna de São Paulo
Moderno MAM, Museu de Arte Moderna de São Paulo
2007 Jaarverslag, de Appel
Drawing Typologies, Stedelijk Museum
Leeds, U.K. , 1974 – lives in Brussels and Berlin
Education
2000 MFA, Fine Art, School of Visual Arts, New York
1997 BA Hons, Fine Art, Camberwell College of Arts, London
Solo Exhibitions
2017 Opening Hours - andriesse eyck galerie, Amsetrdam
2014 The Guilty Machine – Neumeister Bar-Am, Berlin
2012 Translucent Screen – Capacete, Rio De Janeiro
2011 Rebel Without a Cashew – Ellen de Bruijne Projects, Amsterdam
Rue de la Rue – 1646, Den Haag
2008 Jeans & T-Shirts, Ellen de Bruijne Projects, Amsterdam
2007 The Fountains of New York – Oporto, Lisbon
2005 The Fountains of New York – W139, Amsterdam
Disguise For A Light Bulb – Club Elf, Amsterdam
2004 The Reality of Acting - de Ateliers, Amsterdam
Une Borghese Piccolo – Ellen de Bruijne Projects, Amsterdam
Group Exhibitions
2018 Art Rotterdam
2015 The People under the Stairs - Jazz Bar, Munich
2013 Body Building – Neumeister Bar-Am, Berlin
Eye Film Institute Netherlands, Amsterdam
Bourgeois Leftovers – de Appel, Amsterdam
2012 Teatro Ipanema, Rio De Janeiro
2011 Special Edition: Drawings on Hands – Print Room, Rotterdam
Shapes – Sammlung Haubrok, Berlin
Zomertentoonstelling – Paul Andriesse, Amsterdam
2010 Winter Drawings – Ellen de Bruijne Projects, Amsterdam
2009 Wir Verbessern Ihre Arbeit – Galerie Sandra Bürgel, Berlin
Dealing with Fear – Akademie Schloss Solitude, Stuttgart
2008 Cover = Reencenação + Repetição, Museu de Arte Moderna de São Paulo, São Paulo
Mr. Deeds Comes to Town – W139, Amsterdam
März Neubauviertel Musik, Berlin
Photostories – Miss Mick’s, Berlin
Summer Mixtape Volume One - The Get Smart Edition – Exit Art, New York
2007 Drawing Typologies – Stedelijk Museum, Amsterdam
The Go Between – de Appel, Amsterdam
Someone Makes A Phone Call And The Sun Goes Down – Artis, Den Bosch, NL
Jamaica, Queens Thing – The Jamaica Center for Arts and Learning, New York
The Future of Life – Kathleen Cullen, New York
2006 Denkt Allen – 85 Gallery, Antwerp
4 Statements – Galerie Ursula Walbrol, Düsseldorf
2005 Wanakio – Maejima Art Center, Okinawa, JP
Liste Young Art Fair – Ellen de Bruijne Projects, Basel
Props For A Romantic Comedy – Longwood Art Center, New York
2004 Beginning Here : 101 Ways – Visual Arts Gallery, New York
Drawing Out Loud – HDC Gallery, New York
Group Show – de Ateliers, Amsterdam
86 – de Ateliers, Amsterdam
2003 White Meat & Sunlite – Wiensowski & Harbord, Berlin
Art-Link Ueno-Yanaka – Landmark Public Art Project, Tokyo
Lost Space – Viewing Platform, London
Residencies & Awards
2012 Capacete, Rio de Janiero
2009 Capacete, Rio de Janiero
2008 Civitella Ranieri, Italy
2006 Basis Subsidy, Fonds BKVB, NL
2004 de Ateliers, Amsterdam
1998 Fulbright Scholarship, U.K.
Bibliography - Press:
2011 shapes, haubrokshows, exhibition review, Monopol
Daragh Reeves, ‘Curated’, exhibition review, Metropolis M
Rue De La Rue: Bart Rutten in conversation with Daragh Reeves, exhibition review, 1646
Rebel Without A Cashew, exhibition review, Kunstbeeld
Den Haag Revival, exhibition review, Metropolis M
2010 Domino Kingdom 1. The Kick Off, Domino Kingdom
Caderno SESC Video Brasil 6, SESC / Video Brasil
nY, exhibition review, Yang / Freespace Nieuwzuid
Drawings on Hands, J+L Books
Tropical Intelligence, Spike
2009 Wir Verbessern Ihre Arbeit, Instituto Divorcado, Galerie Sandra Bürgel
2008 Cover, Reencenação + Repetição, Museu de Arte Moderna de São Paulo
Moderno MAM, Museu de Arte Moderna de São Paulo
2007 Jaarverslag, de Appel
Drawing Typologies, Stedelijk Museum
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