John Gerrard: Endling. Pace Gallery NY
New York – Pace is pleased to present Endling, an exhibition of new annual simulations by John Gerrard, at its space at 510 West 25th Street in New York City. Marking Gerrard’s first major solo exhibition with Pace, the presentation will run from June 28 to August 12. The works exhibited at Endling are the result of 20 years of game engine development by the artist.
Gerrard creates virtual worlds in his game engine-based and politically resonant artworks that take the form of simulations. His digital, generative, and custom-programmed works have examined issues related to energy production, food systems, information flows, and other hot topics.
Endling, the title of Gerrard’s exhibition with Pace in New York, refers to the last individual member of a given species before its extinction. This title reflects Gerrard’s interest in the global impact of certain political conditions and behaviors. With these concerns at the heart of the artist’s simulations, the exhibition examines the complex relationships between political power, nationality, energy production and environmental exploitation.
The exhibit will feature three new and recent full-scale Gerrard simulations: Flare (Oceania) (2022), Endling (Martha) (2021), and washington.stream (2022). These virtual worlds will operate on the local times of their respective subjects – Tonga, Cincinnati and Los Angeles – when presented in New York. For the duration of the exhibit, the doors of 510 West 25th Street will remain open, inviting viewers to participate in the public-facing simulations as part of a shared experience. Extending the gallery into the street, Flare (Oceania) will be immediately visible to passers-by.
Flare (Oceania) features a gas flare, burning in the form of a flag, in the South Pacific Ocean near Tonga. Based on photographs of the ocean captured by activist and artist Uili Lousi, Flare (Oceania) meditates on the existential threat that warming oceans pose to lowlands as well as the economic and geopolitical factors that contribute to the climate crisis. Functioning as the centerpiece of the exhibition, Flare (Oceania), which is commissioned by Bridgitt Evans, will be presented on an 18-by-18-foot high-resolution screen supplied by Roe Visual, a leading LED screen manufacturer with whom Gerrard has already collaborated. .
Endling (Martha) is a portrait of the last known American passenger pigeon, posthumously named Martha, after First Lady Martha Washington, after the bird’s death in 1914. Gerrard’s simulation is based on historical photographs and recent scans of the bird’s preserved body, showing Martha in her cage at the Cincinnati Zoo, where she spent the last years of her life. The simulation centers on the bird’s intense and unwavering eye contact with onlookers, pondering one of the most catastrophic population crashes in recorded history. Rendered in black and white, Endling (Martha), commissioned by Ahmet Avcioglu, Borusan Contemporary, is Gerrard’s first monochrome simulation.
washington.stream depicts the sprawling 405 Freeway in Los Angeles, extremely congested with traffic. The 30,000 car simulation features vehicle headlights and taillights in night and daytime conditions. Struggling with the deleterious effects of mass consumption and use of energy, washington.stream conveys deeply political messages through its semi-abstract composition. washington.stream is commanded by Scott Hoffman.
Focusing on the intersections of energy, politics and expressions of national identity, Endling is conceptually linked
at Gerrard’s presentation of six wall simulations at Pace’s East Hampton Gallery, on view June 23 at
- Coinciding with his exhibition at Pace in New York, the artist’s presentation in East Hampton features mural iterations by Flare (Oceania), Endling (Martha) and washington.stream. The show also includes Leaf Work (2020) and Corn Work (2020), both commissioned by the Galway International Arts Festival, as well as the new Crystalline Work (2022), which features a robot arm arranging ice crystals in the frame from a review of geoengineering and climate change.
Gerrard’s work is currently featured in the 2022 Biennale of Sydney, and the artist participated in the Gwangju Biennale and the Thailand Biennale in 2021. In 2019, Gerrard’s work was exhibited at the Okayama Art Summit in Japan. He has been the subject of solo exhibitions at the Los Angeles County Museum of Art; the Museo Nacional Thyssen-Bornemisza in Madrid; the Ullens Center for Contemporary Art in Beijing; the Hirshhorn Museum and Sculpture Garden in Washington, DC; and other international locations. His work can be found in the collections of major institutions around the world, including the Museum of Modern Art in New York, LACMA, the Tate in London, the Pinault Collection in Paris, etc.
Jean Gerard (b. 1974, North Tipperary, Ireland) attended Ruskin School of Drawing and Fine Art, University of Oxford, England (1994-1997), where he obtained a BFA in sculpture. He went on to earn an MFA from the School of the Art Institute of Chicago (1994–97) and an MFA from Trinity College, Dublin (2000–01). His innovative practice explores the divisions between portraiture, landscape and history painting, generating moving images that no longer belong in “time-based media”. Gerrard rethinks the monumentalism of Land art in the age of Google Earth and explores an expanded arena of choreography and performance, following the subtle complexity of his subject matter. The artist has developed a practice involving transhistorical collage, the layering of terrains, figures, images and gestures captured from real bodies and sites using satellite data, intensive photographic documentation, 3D scanning and motion capture. The resulting works are sculptures that exist in virtual space, in environments that include complex algorithmic choreography, multiple moving viewpoints, and realistic cycles of day and night; they are a projection of a very complex data set, every aspect of which is continuously calculated and rendered in real time. These moving images never existed as time series, and each frame is dynamically produced and rendered. The nature of these images and the emerging visual culture to which they belong remain an open question for art history and theory. However, Gerrard’s work is more reminiscent of Beckett’s minimal exhaustion theater than Hollywood CGI films. Each of the works sets up an algorithmic set of conditions, which are then allowed to unfold in the time and space of the virtual world. The viewer – a subject mediated by technology, scanning the stage from a distance, through the virtual cameras that orbit around the stage – is invited to piece together the logic of their movements and the nature and meaning of the performance.
Pace is a leading international art gallery representing some of the most influential contemporary artists and fields of the past century, enjoying decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson and Mark Rothko. Pace benefits from a unique American heritage that spans the east and west coasts.
Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished heritage as the premier artist gallery that curates landmark historical and contemporary exhibitions. Under the current leadership of President and CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences around the world by staying at the forefront of innovation. Now in its seventh decade, the gallery pursues its mission through a robust global program comprising exhibitions, artist projects, public installations, institutional collaborations, performances and interdisciplinary projects. Pace has a heritage in creating art books and has published over five hundred titles in close collaboration with artists, emphasizing original scholarship and introducing new voices to the historical canon of art.
The gallery has also spearheaded explorations at the intersection of art and technology through its new business models, exhibition interpretive tools, and representation of artists cultivating advanced studio practices. . Pace’s presence in Silicon Valley since 2016 has reinforced its longstanding support for experimental practices and digital artistic creation. As part of its commitment to tech-engaged artists within and beyond its program, Pace launched a hub for its Web3 business, Pace Verso, in November 2021.
Today, Pace has ten locations worldwide, including a European foothold in London and Geneva, and two galleries in New York – its headquarters at 540 West 25th Street, which has welcomed nearly 120,000 visitors and programmed 20 exhibitions in its first six months, and 8,000 adjoining exhibits. square foot exhibit space at 510 West 25th Street. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, as well as an office and showroom in Beijing. In 2020, Pace opened satellite exhibition spaces in East Hampton and Palm Beach, with ongoing programming on a seasonal basis. In 2022, the gallery opened its West Coast flagship in Los Angeles and continues to operate its gallery in Palo Alto.
John Gerrard: Endling. rhythm gallery
Event title: John Gerrard: Endling. rhythm gallery
Description of the event: Pace is pleased to present Endling, an exhibition of new annual simulations by John Gerrard, at its space at 510 West 25th Street in New York City. Marking Gerrard’s first major solo exhibition with Pace, the presentation will run from June 28 to August 12. The works exhibited at Endling are the result of 20 years of game engine development by the artist.
Start date: June 23, 2022
End date: June 29, 2022
Location name: New York
Address: 510 West 25th Street
Interpreter: John Gerard: