Jonathan Callan 1961

Woont in London (UK). Werkt in London (UK).
Vertegenwoordigd door:

Galerie Martin Kudlek

Geobsedeerd door taal en zijn beperkingen, werkt Jonathan Callan vaak met tekstboeken, kaarten of foto's als een bronmateriaal. Niet langer een tweedehands-drager van informatie, tekst wordt omgezet in een object van eerste ervaring. Zijn methodologie bestaat uit het versterken van de fysieke aspecten van het object door het in te bedden of op te lossen totdat de oorspronkelijke vorm nauwelijks te identificeren is. Door dit soms gewelddadige, vaak obsessieve proces, ontwikkelt Callan een systeem van onderzoek, dat zowel het werk aanstuurt als betekenis genereert. ''Here are a few thoughts on the nature of what I do. It’s made from scraps of things written down over the years. I should say that this is not an attempt to provide a definitive set of reasons for the work I make. I thought differently a few years ago and no doubt I’ll feel differently a few years hence. Art and the thoughts that surround it are dynamic and contradictory. With art two and two might easily make five. I don't have a theory. An artist might be the least reliable authority on the meaning of their own work. Giving a reason for something having been made is not equivalent to giving the meaning of the work. Most of my work is derived from a fascination with materiality. I'm interested in fluff, dirt, dust. I'm interested in things breaking down. I'm interested in that which cannot be said but can only be shown. Most objects to me are not real until I can find what is inside. Which presents a paradox, since we can only ever see the surface of things. The real interior of any object is seen as a series of surfaces beyond and behind which are only more interior surfaces. This is a morbid inclination. Perhaps implying that things can only be understood after having been broken down or destroyed, suggesting that the attainment of knowledge is an invasive procedure, no gaze or observation leaving its subject unmarked. Meaning, like life, needs no encouragement to colonise almost every conceivable environment and its subtlety is enriched by allowing it to evolve from the bottom up rather than forcing it to devolve from the top down. This is perhaps why all my work begins with very ordinary low level observations, the kind that would be of no interest to most people. I have made a lot of work using books. Not because I have any fetishistic attitude towards them but because of the realisation that words are the poor and inefficient servants of experience. I might add that I’m not attempting any criticism of writers or the craft of writing but that having grown up within what is historically a literary culture I found myself valuing and gauging experience (which included art) only if it could be expressed and explored with words. As a visual artist this represented an interesting problem. Most people will rarely think of a book as an object, the words within are regarded as far more important than the form without. Because this seemed to perfectly express the problem I had in thinking about how art was discussed and how its meanings were valued, I began to regard books in the same way a potter might regard clay. In some senses I think of this as another way of approaching the equation of form and content, and how arguments have always been conducted about their relative importance. The work I make with books is rarely illustrative of the text. This a deliberate choice. For almost everyone the text in a book is regarded as sacred. For me, to have an illustrative approach to each specific book would be to accept the false divisions that are made between form and content. So the new meanings that I try to write across the books are usually more oblique. Many are so oblique that the viewer might never know of any connection to or from a book. This would be so in the two dimensional pieces where fragments of images found in books are isolated and abstracted from their original contexts. The English philosopher, John Austin described language as a net which we use to try to catch our experiences of the world. Much is caught and much is missed and it's the stuff that escapes that interests me. I suspect far more is missed than caught and more often than not the stuff that is missed, because it cannot be made sensible with words, is overlooked. Information, like intelligence, is expressed and encoded in a multitude of different ways, we sometimes neglect those expressions of intelligence that are unable to be translated directly or indirectly into language. Assimilating more and more information does not lead to a more profound view of the world. Information (especially now) is as much a pollutant as the colossal amounts of plastic floating in the South Pacific Gyre. The concept of ignorance becomes more interesting in this context; do we now live in world where we have to know what not to know before we know it? One of the things that used to bother me was the apparent contradiction of practicing an activity I didn't know the meaning of. I still don't. Beyond the broad idea that art is a very subtle form of communication and perhaps also a form of inquiry, I am still none the wiser. In order to get the work made an artist will use any and every form of conceptual scaffolding. For me that kind of support is only temporary (and perhaps it’s here where lies are of some use) the scaffolding must be taken down once the work is finished. Structurally it may have no correspondence at all to the conceptual integrity of the finished piece''. Jonathan Callan.

Kunstwerken
Media
Highlights
Over de kunstenaar
In collectie van
Tentoonstellingen
Marktpositie
CV

Media

Jonathan Callan, installation view | artworks by Jonathan Callan
installation view | artworks by Jonathan Callan
Jonathan Callan, installation view | artworks by Jonathan Callan
installation view | artworks by Jonathan Callan
Jonathan Callan, installation view | artworks by Jonathan Callan
installation view | artworks by Jonathan Callan
Jonathan Callan, installation view | artworks by Jonathan Callan
installation view | artworks by Jonathan Callan

Marktpositie

Zijn werken zijn uitgebreid geëxposeerd in musea en galerieën in Europa en de Verenigde Staten. Selecteer institutionele tentoonstellingen zijn: Islip Art Museum, East Islip, NY (2014); Yale University Art Gallery, New Haven, CT (2014); Boghossian Foundation, Villa Empain, Brussel (2014); Wesleyan University Museum, Boston, MA (2012); Teylers Museum, Haarlem, Nederland (2012); John Michael Kohler Arts Center, WI (2010); Royal Society of British Sculpture, Londen, Verenigd Koninkrijk (2010). Zijn werk is opgenomen in grote museale collecties waaronder: The Museum of Modern Art, New York; Het British Museum, Londen; Het Henry Moore Institute, Leeds, VK; Whitworth Gallery, Manchester, VK; The High Museum, Atlanta GA; Het Leopold-Hoesch Museum, Düren, Duitsland; en Princeton University Art Museum, Princeton, NJ.

CV

Born Manchester, England 1961 Slade School of Fine Art, HDFA (Sculpture MA) 1988-1990 Goldsmiths College of Art, BA Honours (1st Class) 1980-1984 SOLO EXHIBITIONS 2017 I don't believe you, Galerie Martin Kudlek, Cologne 2016 Kernel, Hopstreet Gallery, Brussels Colony, Josée Bienvenu Gallery, New York 2015 Vacation, Hopstreet Gallery, Brussels 2014 Words Will Fold, Galerie Martin Kudlek, Cologne 2013 Bind, Josée Bienvenu Gallery, New York 2012 Prospero, Martin Asbaek Gallery, Copenhagen Set, Galerie Martin Kudlek, Cologne 2011 New Work, Hopstreet Gallery, Brussels 2010 Blancpain Art Contemporain, Geneva Faith, Kudlek van der Grinten Galerie, Cologne Making subjects and verbs agree, John Michael Kohler Arts Center, Wisconsin, USA 2009 I can’t tell you why, Grusenmeyer Art Gallery, Belgium Nicole Klagsbrun Gallery (together with Jason Tomme), New York 2008 Access Denied, Kudlek van der Grinten Galerie, Cologne 2007 The Library of Past Choices, Grusenmeyer Art Gallery, Belgium 2006 New Works, Galerie Martin Kudlek, Cologne 2005 Mattress Factory, Pittsburgh, USA Empires and Other Works, Houldsworth Gallery, London The Apartment, Athens Trace, Zinger Gallery, Netherlands 2004 Galerie Martin Kudlek, Cologne BearSpace, London 2003 Interference, Firstsite Gallery, Colchester, England Nicole Klagsbrun Gallery, New York 2002-03 Interference, The New Art Gallery Walsall, England 2001 New Work, Zwemmer Art, London Grant Selwyn Fine Arts, Los Angeles 2000 Nicole Klagsbrun Gallery, New York Santa Barbara Contemporary Arts Forum, USA Hales Gallery, London L’Oeil de Poisson, Montreal 1999 Grant Selwyn Fine Arts, Los Angeles 1995 Hales Gallery, London 1994 Entwistle Gallery, London Winchester Gallery, Culmination of residency at Winchester School of Art, England 1992 Hales Gallery, London GROUP EXHIBITIONS 2017 Deep Cuts: Contemporary Paper Cutting, Currier Museum of Art, Manchester, New Hampshire 2016 Unknown Portraits, Hopstreet Gallery, Brussels Bookish, Thomas Park, Seoul 2015 The Suspended Line, Josée Bienvenu Gallery, New York 2014 Redacted, Islip Art Museum, East Islip Odd Volumes: Book Art from the Allan Chasanoff Collection, Yale University Art Gallery, New Haven Parti Pris, 1989-2014, Blancpain Art Contemporain, Geneva A Book between two stools, Boghossian Foundation, Villa Empain, Brussels 2013 The Feverish Library (continued), Capitain Petzel, Berlin Passing Time, MassArt, Boston Drawing Up, Josée Bienvenu Gallery, New York 2012 Summer in the City, Martin Asbaek Gallery, Copenhagen Walking the line IV, Galerie Martin Kudlek, Cologne Passing Time, Cecile and Ezra Zilkha Gallery, Wesleyan University, Middletown, Connecticut Met anderen Ogen, Teylers Museum, Haarlem 2011 Espaces de Destin - Espèces de Dessins, le 19, CRAC, Montbéliard Walking the Line III, Kudlek van der Grinten Galerie, Cologne Summer Group Show, Patrick Heide Contemporary Art, London Gravity’s Rainbow, Ingleby Gallery, Edinburgh, with David Batchelor, Ian Davenport, Grace & Owens, Yves Klein, Peter Liversidge, Kay Rosen and Ed Ruscha 2010 Summer in the City, Martin Asbaek Gallery, Copenhagen Eraserhead, Fruehsorge Contemporary Drawings, Berlin Monochrom, Galerie Linder, Geneva The thought of stuff, Royal Society of British Sculpture, London 2009 On Paper, Galerie Karsten Greve, Paris 2008 Wir für Euch, Kudlek van der Grinten Galerie, Cologne Le visage qui s’efface – De Giacometti à Baselitz, Hôtel des Arts, France Bookish, Lewis Glucksman Gallery, Ireland Ghost Trade And The Spectre Of Change, Deptford X, APT Gallery, London Fantastic, Found and Fake, Potteries Museum, England Uncoordinated: Mapping Cartography in Contemporary Art, Contemporary Arts Center, Cincinnati, USA London Calling, Grusenmeyer Art Gallery, Belgium Digital Romance, VILKA, Greece And Now, Greek State Museum, Greece Papier & Raum, Galerie Thomas, Munich Interiors, Grusenmeyer Art Gallery, Belgium Walking The Line, Kudlek Van Der Grinten Galerie, Cologne 10th Anniversary, Deptford X, London Pop Art: Now and Then, Wolverhampton Art Gallery, England 2007 Rummage, Sculptors Drawings, The Winchester Gallery, England Drawings and Papers, Grusenmeyer Art Gallery, Belgium New Lexicon, The Apartment Gallery, Athens Microwave 5, Josée Bienvenu Gallery, New York Overcraft, Haifa Museum Of Art, Israel Play, The Cello Factory, London, curated by BearSpace Boys Craft, Haifa Museum of Art, Israel 2006 Crossing the Borders, State Museum of Contemporary Art, Greece Draw, Paper Scissors, Domestic Setting, Los Angeles Portraits, Marc Selwyn Domestic, Los Angeles Anniversary show, The Apartment Gallery, Athens Off the Shelf, Vassar College, New York Artists books, Hosfelt Gallery, San Francisco In a Certain Place, Nicole Klagsbrun Gallery, New York Sculpture/Object, Potteries Museum, England From the Island of Misfit Toys, BenMaltz Gallery, Los Angeles Black & White, Hellenic American Union, Athens Everydebris, St Pauls Gallery, London The Constant Possibility of Erasure, Dorsky Project Space, New York Reading Writing, Nicole Klagsbrun Gallery, New York 2005 Paul Kopeikin Gallery, Los Angeles Galerie Martin Kudlek, Cologne Paper, Nicole Klagsbrun Gallery, New York Papier Kunst 5, Neuer Kunstverein, Germany Leopold-Hoesch-Museum, Germany Cristina Guerra Contemporary Art, Lisbon Showcase Contemporary Art for the UK, City Art Centre and Talbot Rice Gallery, Edinburgh 2004 Surface, (two man show with Reinhard Doubrawa) Galerie Martin Kudlek, Cologne Pistilos y Petalo, Spain Heimweg, travelling exhibition including Hamish Fulton, Kasper Konig, Richard Long, Yoshitomo Nara and Lawrence Weiner 2003 The Book Show, The Nunnery, London Chaotic Order, Houldsworth Gallery, London Perforations, McKenzie Fine Art, New York The Map is not the Territory lll, James Hockey Galley, England Fake/Real, Hunter College, New York 2002 AOP 2002: The 37th Art on Paper Exhibition, Weatherspoon Art Museum, The University of North Carolina, USA Complexity: Art and Complex Systems, Samuel Dorsky Museum of Art, State University of New York, USA 2001 The Silk Purse Procedure, Arnolfini Gallery, England Avalanche, Hales Gallery, London Perfidy: Surviving Modernism, Kettle’s Yard, England Verbal inter Visual, Central Saint Martins College of Art and Design, London 2000 From a Distance: Approaching Landscape, The Institute of Contemporary Art, Boston, USA Barbara Gillman Gallery, Miami, USA Santa Barbara Contemporary Arts Forum, Santa Barbara, USA 1999 Nature/Culture, Gimpel Fils, London Hales Gallery at Old England, Paris Drawings, Nicole Klagsbrun Galley, New York Manufacturers, The Paper Bag Factory, London 1998 London Now, Saks Fifth Avenue Project, New York Project 8, Total Museum of Contemporary Art, Seoul, South Korea Drawing Centre, New York Lombard Freid Fine Art, New York De Praktijk, Amsterdam Not Nothing Nowhere, Master Shipwrights House, London 1997 The Mag Collection, Ferens Art Gallery, England Young British Artists, Marlene Eleini, London Parasite, Toison D’Or, Brussels 1995 To Whom it May Concern, Anna Bornholt, London 1994 Tight, The Tannery, London Bridge 1992 Whitechapel Open, Whitechapel Galley, London 1991 Barclays Young Artist of the Year, Serpentine Galley, London 1989 Into the Nineties, the Mall Galleries London AWARDS 1993 Henry Moore Fellow in Sculpture, Winchester school of Art 1992 Boise Scholarship COLLECTIONS The Museum of Modern Art, New York The British Museum The Henry Moore Institute South London Art Gallery Whitworth Gallery, Manchester The British Council The Ferens Art Gallery, Hull The High Museum Atlanta, USA The West Collection, Pennsylvania The Leopold-Hoesch-Museum, Germany Princeton University Art Museum Progressive Art Collection, Ohio JP Morgan Chase Bank, New York Private Collections in the UK, Europe, China, USA, Korea and Japan BIBLIOGRAPHY 2017 - Deep Cuts (catalogue), essay by Samantha Cataldo, Currier Museum of Art 2016 - Cirkel/Portretkunst, De Standaard Magazine, www.standaard.be 12 03 16 2015 - Kurt Snoekx, Jonathan Callan's catalysts for introspection, www.agendamagazine.be 07 04 15 2014 - Karin Lipson, Shredded, Sliced and Covered Up, The New York Times, 02 05 14 2011 - Book Art, iconic sculptures and installations made from books, Gestalten, Berlin 2010 - The thought of stuff (catalogue), essay by Chris Mazeika, The Royal British Society of Sculptors 2009 - The Map as Art, Contemporary Artists Explore Cartography, Katharine Harmon, Princeton Architectural Press, New York - The Judith Rothschild Foundation Contemporary Drawings Collection Catalogue Raisonne, essays by Brian Sholis, Jan Tumlir, Manfred Hermes, Isabelle Graw, - Martin Herbert, Scott Gerson, The Museum of Modern Art, New York 2008 - Journal Sous Officiel Automme 2008, No.38 - Sleek Magazine, Burning Books, No.18, p86 - Hijack Reality (catalogue), Deptford X Cover of Mr Motley, Issue 19 -Uncordinated, (catalogue), Cincinnati Contemporary Art Center -8038 Titles, Mongraph, Published by Kudlek van der Grinten 2007 -Athens Contemporary Art Review, Issue 10, February 2007 - Boys Craft, (catalogue) Exhibition Essay – Craftsmen in The Factory of Images - Play, (catalogue), essay Julia Alvarez 2006 - Remembering Books, Huth, Goef, dbpq: visualizing poetics (http:/dbqp.blogspot.com) 30 12 06 - Seen Unseen, Martin Kemp, Oxford University Press - New Art On View, Published by Scala, Introductions by Gill Hedley and Stephen Snoddy - Book at Hosfelt Gallery, Hefland Glen, review in Art on Paper, March 2006 - Feature, AD Magazine, Germany, March 2006 - Review of Draw Paper Scissors, LA Times, June 2006 - Review in Juxtapoz Magazine, May 2006 - Interview in Athens Contemporary Art Review, January 2006 - Romance (a novel), (catalogue) essay by Adriano Pedrosa, Christina Guerra Contemporary Art - Review of Messages & Communications, Cynthia Camlin, Art Papers - Black and White, (catalogue), The Hellenic American Union - Off the shelf, (catalogue), essays by Joshua Beckman, Michael Joyce, Mary-Kay Lombino, Vassar College 2005 - Papier Kunst 5, (catalogue), Neuer Kunstverein, Germany - Paper Art Remixed, (catalogue), Leopold-Hoesch-Musem, Germany - Showcase Contemporary Art for the UK, (catalogue), Contemporary Art Society 2004 - Heimweg, (catalogue) Cornerhouse Publications, Essays by Mathias - Beck, Peter Brechter, Tom Fecht - Review of Surface, Stadt Review, Germany 2003 - Complexity, (catalogue), Text by Philip Galanter and Ellen K. Levy - The Book Show, (catalogue), The Wordsworth Trust, Texts by Susan Johanknecht and Simon Morley - The Map is Not the Territory part III, (catalogue), James Hockey Gallery & Foyer Gallery, The Surrey Institute of Art and Design University College, Farnham - Review of Interference, Art Preview, January - Review of Interference, Metro 3 01 03 2002 - Interference, (catalogue) Essay by Edward Allington, Conversation with the Artist Edward Allington and Andrew Renton - Review of Interference, Artists’ Newsletter, December - Review of Interference, Metro 10 12 02 - Review of Interference, Time Out, December 2001 - Verbal inter Visual, (catalogue), Text by Robert Vas Dias, Central Saint Martins College of Art and Design 2000 - Sarah Valdez, Art in America, March 2000 - Gary Duehr, Art on Paper, November/December pp.90-1 - Katie Clifford, ARTnews, November, p.210 - Voice Choices/Best of NYC, The Village Voice, October 3 - Talent, New York Magazine, September 18 - Christopher Mills, Hitting Paydirt; A world of Wonders At the ICA, The Boston Phoenix, August 25 p.11 - Christine Temin, Illustrating the Loss of Landscape, The Boston Globe, August 4. p.D1 - Mary Sherman, Landscapes keep distance from nature At ICA exhibit, Boston Herald July 23 - Paul Parcellin, View from Above, Retro-Rocket.com, July - Review Soundings, Artists Newsletter Magazine - Piers Masterson, Love Affairs of Some Famous Men, Contemporary Visual Arts, Issue 28 - Sacha Craddock, Love Affairs of Some Famous Men, Ionart.co.uk magazine 01 02 00 - Duncan McLaren, Love Affairs of Some Famous Men, The Independent on Sunday 06 02 00 - Helen Sumpter, Love Affairs of Some Famous Men, The Big Issue - Regina Von Planta, Love Affairs of Some Famous Men, Kunst-Buletin, January/February 1999 - Ken Johnson, Drawings Nicole Klagsbrun Gallery, The New York Times, August 13 1998 - Dorcus Taylor, Works on Paper Concise Catalogue, Leeds Sculpture Collections, Henry Moore Institute - Scientific American, May - Adrian Webster, Nature, Vol. 391 29 01 98 1997 - Martin Kemp, Nature, Vol. 390 11 12 97 - Denis Gielen, Parasite, (catalogue) 1994 - Davis Lillington, Time Out Magazine - Heidi Reitmar, Tight, Art Monthly, No. 81 1993 - Paul Bonaventura, (catalogue) for Henry Moore Fellowship 1992 - Sarah Kent, Time Out, July