Federico Herrero
JORGE MÉNDEZ BLAKE
Amerika, 2019
Bricks, edition of "Amerika" by Franz Kafka
72 7/8 x 11 7/8 x 400 in.
185.1 x 30.2 x 1016 cm
Borders, installation view at James Cohan, 533 West 26th Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019.
JORGE MÉNDEZ BLAKE
Amerika, 2019 (detail)
Borders, James Cohan, 533 West 26th Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 533 West 26 Street, January 10 - February 23, 2019.
SOL LEWITT
Wall Drawing #320: A blue square, a yellow circle, and a red triangle (outlines) superimposed., 1979, red, yellow, and blue crayon
First drawn by Victor Alzamora, Sol LeWitt, Anthony Sansotta at John Weber Gallery, New York, May 1979
Dimensions variable
JCG10286
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
EDGARDO ARAGÓN
El paso, hombre invisible, 2014
HD video
28 min, 55 sec.
Edition of 5
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
XU ZHEN
18 Days, 2006
Single channel DVD video installation with sound
23 min, 56 sec.
Edition of 5
Borders, installation view at James Cohan, 291 Grand Street, January 10 - February 23, 2019.
JORGE MÉNDEZ BLAKE
Amerika, 2019
Bricks, edition of "Amerika" by Franz Kafka
72 7/8 x 11 7/8 x 400 in.
185.1 x 30.2 x 1016 cm
JCG10272
JORGE MÉNDEZ BLAKE
Amerika, 2019
Detail
BYRON KIM
Sky Blue Flag, 2018
Indigo dyed ramie, flag pole
55 x 93 in.
139.7 x 236.2 cm
JCG10242
Entrance of Soi Mountain, Cheorwon, Gangwon-do, commissioned by the Real DMZ Project.
BYRON KIM
Sky Blue Flag, 2018
Indigo dyed ramie, flag pole.
55 x 93 in.
139.7 x 236.2 cm
JCG10242
Entrance of Soi Mountain, Cheorwon, Gangwon-do; Entrance of James Cohan, New York,
Commissioned by the Real DMZ Project.
DREAD SCOTT
Imagine a World Without America, 2007
Screen print and acrylic on canvas
75 x 75 in.
190.5 x 190.5 cm
Edition of 4
JCG10236
YINKA SHONIBARE, CBE
The American Library Collection (Politicians), 2018
Approximately 213 Hardback books, Dutch wax printed cotton textile, gold foiled names, bookcase, bespoke card catalogue box
98 x 40 x 13 1/4 in.
248.9 x 101.6 x 33.7 cm
JCG9339
YAEL BARTANA
16. The Missing Negatives of the Sonnenfeld Collection, 2008
Black and white photograph
Image: 15.35 x 22.99 in.; 39 x 58.4 cm
Paper size: 20 x 23.98 in.; 50.8 x 60.9 cm
Edition of 5
JCG10276
YAEL BARTANA
17. The Missing Negatives of the Sonnenfeld Collection, 2008
Black and white photograph
Image: 19 X 12.7 in.; 48.25 x 32.25cm
Paper size: 19.92 x 15.93 in.; 50.6 x 40.45 cm
Framed: 19 1/4 x 25 3/4 in.
Edition 5/5 + 2AP
JCG10277
YAEL BARTANA
21. The Missing Negatives of the Sonnenfeld Collection, 2008
Black and white photograph
Image: 15.35 x 22.99 inches; 39 x 58.4 cm
Paper size: 20 x 23.98 inches; 50.8 x 60.9 cm
Edition of 5
JCG10278
CANDICE LIN
Fragments from A Hard White Body (Socks,
Boots, Underwear, and Hoodie), 2017-2018
Porcelain
1 1/2 x 13 x 10 in.
4 x 33 x 25.5 cm
JCG10308
JORDAN NASSAR
This Is My Night, 2018
Hand-embroidered cotton on cotton
35 x 36 in
88.9 x 91.4 cm
JCG10279
JORDAN NASSAR
Which Love, 2018
Hand-embroidered cotton on cotton
34 1/2 x 36 in.
87.6 x 91.4 cm
JCG10300
ALISON ELIZABETH TAYLOR
GSENM: Slot Canyon #1, 2018
Marquetry hybrid
69 x 59 in.
175.3 x 149.9 cm
JCG10045
HANK WILLIS THOMAS
Nation Building, 2014
Cardboard puzzle mounted on board
Diptych: 21 1/8 x 27 x 1 in
53.7 x 68.6 x 2.5 cm
JCG10241
SUSAN HEFUNA
FEEL, 2008
Wood, black ink
70 5/8 x 44 3/8 in
179.4 x 112.7 cm
JCG10239
THE PROPELLER GROUP
AK-47 vs. M16, 2015
Fragments of AK-47 and M16 bullets, ballistics gel, custom vitrine and digital video
7 1/8 x 16 7/8 x 7 1/4 in.
18.1 x 42.9 x 18.4 cm
Edition of 21
JCG8516
THE PROPELLER GROUP
AK-47 vs. M16, 2015
Fragments of AK-47 and M16 bullets, ballistics gel, custom vitrine and digital video
7 1/8 x 16 7/8 x 7 1/4 in.
18.1 x 42.9 x 18.4 cm
Edition of 21
JCG8516.15
ELIAS SIME
Border, 2018
Reclaimed electrical components on panel
72 1/2 x 63 in.
184 x 160 cm
JCG10280
BYRON KIM
누가 빨강, 노랑, 파랑을 무서워하는가? (Who’s Afraid of Red, Yellow and Blue?), 2018
Encaustic, acrylic on canvas on wood panels
80 x 36 in.
203.2 x 91.4 cm
JCG10255
YUN-FEI JI
Wind from the North, 2018
53 1/2 x 71 in.
135.9 x 180.3 cm
JCG10254
MATTHEW RITCHIE
Boundless Informant (S), 2018
Mobile screen with UV printing on acrylic
85 x 55 1/4 x 37 in
215.9 x 140.3 x 94 cm
Unique screen from Edition 1/1 + 1 AP
JCG10263
MATTHEW RITCHIE
Occidental King (S), 2018
Mobile screen with UV printing on acrylic
85 x 55 1/4 x 37 in
215.9 x 140.3 x 94 cm
Unique screen from Edition 1/1 + 1 AP
JCG10259
SOL LEWITT
Wall Drawing #320
Red, yellow, and blue crayon
First drawn by: Victor Alzamora, Sol LeWitt, Anthony Sansotta
First installation: John Weber Gallery, New York
May 1979
JCG10286
MOUNIR FATMI
Defénse 01, 2016
Steel
31 1/2 x 31 1/2 in
80 x 80 cm
Edition of 5
JCG10273
MOUNIR FATMI
Defénse 01, 2016
JCG10273
MOUNIR FATMI
Crossing the Line, 2015
Pigment print on fine art paper
Diptych
28 x 42 1/2 in. each
71.1 x 108 cm each
Edition of 5
JCG10274
ETEL ADNAN
Untitled, 2000-2005
Oil on canvas
11 3/4 x 16 in.
29.8 x 40.6 cm
JCG10194
TERESA MARGOLLES
Sillón tapizado frente a línea fronteriza / Upholstered armchair facing a borderline, 2019
Armchair recovered from the ruins of the Hotel Rex, a building in the historic center of Ciudad Juárez. The piece has been upholstered with fabric that previously absorbed fluids from a violent event that happened in the area. The cloth embedded inside the wall was dragged in that same location.
JCG10271
TERESA MARGOLLES
Sillón tapizado frente a línea fronteriza / Upholstered armchair facing a borderline, 2019
Armchair recovered from the ruins of the Hotel Rex, a building in the historic center of Ciudad Juárez. The piece has been upholstered with fabric that previously absorbed fluids from a violent event that happened in the area. The cloth embedded inside the wall was dragged in that same location.
JCG10271
TERESA MARGOLES
Sillón tapizado frente a línea fronteriza / Upholstered armchair facing a borderline, 2019
Armchair recovered from the ruins of the Hotel Rex, a building in the historic center of Ciudad Juárez. The piece has been upholstered with fabric that previously absorbed fluids from a violent event that happened in the area. The cloth embedded inside the wall was dragged in that same location.
JCG10271
JORDAN NASSAR
I Am Lost, 2018
Hand-embroidered cotton on cotton
12 x 34 in.
30.5 x 86.4 cm
JCG10266
FRED TOMASELLI
Saturday, April 21, 2018, 2018
Acrylic, photo collage, archival inkjet print on paper
43 x 51 1/2 in.
109.2 x 130.8 cm
JCG10083
MIKHAEL SUBOTZKY
Pleasure Personified/ UNHCR, Midrand (0347), 2008
Smashed edition: C-print mounted on Dibond
49 3/8 x 59 1/8 in.
125.5 x 150 cm
Edition of 5
JCG10235
FEDERICO HERRERO
Untitled, 2019
Digital C Print
19 5/8 x 15 5/8 in
49.8 x 39.7 cm
Framed: 24 3/8 x 20 1/4 in.
JCG10323
FEDERICO HERRERO
Untitled
2018
Monoprint on paper
19 5/8 x 15 5/8 in.
50.0 x 40.0 cm
JCG10155
MISHECK MASAMVU
Midnight, 2016
Oil on canvas
66 x 178 in.
167.6 x 452.1 cm
JCG10240
MERNET LARSEN
Dialog #1 (study), 2018
Acrylic and tracing paper on Bristol paper
19 x 24 in.
48.3 x 61.0 cm
JCG10089
MERNET LARSEN
Dialog #2 (study)
2018
Acrylic and tracing paper on Bristol paper
19 x 24 in.
48.3 x 61.0 cm
JCG10090
KATIE PATERSON
Ideas (A directory of everything unnamed on earth), 2018
Micro waterjet-cut sterling silver
4 1/4 x 9 1/8 x 1/4 in
10.8 x 23.2 x 0.5 cm
JCG10270
HIRAKI SAWA
Dwelling, 2002
Digital single channel video on DVD
9 min, 20 sec.
Edition of 8
JCG1444
EDGARDO ARAGÓN
El paso, hombre invisible, 2014
HD video
28 min, 55 sec.
Edition of 5
JCG10247
XU ZHEN
18 Days, 2006
Single channel DVD video installation with sound
23 min, 56 sec.
Edition of 5
JCG3628
James Cohan is pleased to present Borders, a group exhibition that considers how contemporary artists engage with political, ideological and formal borders. Borders are synonymous with state power, sovereignty and national identity. They define both belonging and otherness. In the face of rising nationalism and the growing global refugee crisis, borders across the world are tightening and also unraveling. This exhibition will seek to create a framework and a dialogue about borders as both places of productive exchange and barriers of exclusion.
Borders visually define space; utilizing form, color, and line to separate, delineate and frame fields of visual perception. In painting, formal borders call attention to the work’s nature both as an image and an object, and provide compositional structure. In sculpture and installation-based work, borders act to define and destabilize the relationship of the object in space, and negotiate the engagement between the viewer and the work of art.
Borders brings together artists who work using a diverse range of materials and processes including Etel Adnan, Edgardo Aragón, Yael Bartana, Jorge Méndez Blake, Mounir Fatmi, Susan Hefuna, Federico Herrero, Yun-Fei Ji, Byron Kim, Mernet Larsen, Sol LeWitt, Candice Lin, Teresa Margolles, Misheck Masamvu, Jordan Nassar, Katie Paterson, The Propeller Group, Matthew Ritchie, Hiraki Sawa, Dread Scott, Yinka Shonibare CBE, Elias Sime, Mikhael Subotzky, Alison Elizabeth Taylor, Fred Tomaselli, Hank Willis Thomas and XU ZHEN®. Borders will be on view from January 10 through February 23 in the gallery’s Chelsea and Lower East Side spaces. The gallery will host opening receptions on Thursday, January 10 from 6-8 pm at 533 West 26th Street and Saturday, January 12 from 5-7 pm at 291 Grand Street.
Visitors to 26th Street will encounter Byron Kim’s Sky Blue Flag anchored to the gallery’s facade, blending into the backdrop of the sky. This flag was originally installed only a few meters from the Korean Demilitarized Zone checkpoint. Its installation called into question physical and political borders at a site where division is most evident. Using the language of abstract painting, Kim confuses subject and ground, conflating the relationship between a flat image and real space. While the function of a flag is used for claiming land, Kim’s work is contingent upon blurring these demarcations, as the edge of the flag merges into the sky. Like Byron Kim, Dread Scott undermines the notion of political borders by examining their logic and legibility, or lack thereof. While Kim’s flag mounts a physical intervention into contested space, Scott uses the visual tropes of cartography to question boundaries by proposing alternative geographies. His 2007 work, Imagine a World Without America, calls upon the viewer to participate in the titular thought experiment and contemplate that absence. The painting de-centers the United States of America from the middle of the map that most Americans are familiar with. Scott utilizes the language of cartography to encourage the exploration of social questions, not geography. Land mass and sea are depicted but—like the world as it actually is—borders don’t exist.
For Borders, Jorge Méndez Blake and Yinka Shonibare CBE have created artworks that utilize books as both sculptural objects and repositories of knowledge, narrative, and memory. In his site-specific installation, Méndez Blake has constructed an imposing brick wall whose structure is disrupted by the insertion of a book at its base. The book, a copy of Kafka’s unfinished novel The Man who Disappeared (published posthumously as Amerika), tells the archetypal Kafka story of a young man who navigates the travails of life in New York as an immigrant from Europe. The weight of the wall upon the book operates as a physical metaphor of the book’s motifs, while the wall itself disrupts the normal flow of visitors throughout the physical space of the gallery. Shonibare’s American Library (Politicians), 2018, celebrates the diversity of the American population while emphasizing the elastic nature of “American” identity. Inspired by the ongoing debates surrounding immigration—the artist has wrapped 213 books in his signature Dutch-wax printed fabrics. The textiles’ complex origins and shifting significance reflect both a long history of international exchange and the fiction of cultural authenticity. Embossed in gold upon the spines of each book are the names of American politicians who are first- or second- generation immigrants, as well as politicians who have spoken out against immigration and equality.
Jordan Nassar and Yael Bartana construct imaginary places and spaces that echo the contours of reality to call into question cultural identity and political division. The Palestinian-American artist Jordan Nassar’s embroidered landscapes are built out of the colors, symbols and patterns of traditional Palestinian embroidery and reflect his time spent working between Israel and Palestine. The mountains and horizons depicted in his works are abstracted, utopian dreamspaces that allow the artist—a second-generation diaspora Palestinian—to navigate his feelings of inherited nostalgia and of being alien to the familial homeland that he’s been taught to long for, while expressing his desire for a peaceful resolution to the conflict in the region. Israeli multimedia artist Yael Bartana blends fact and fiction—and past and present—in her photographic works, creating utopian moments that destabilize the dominant narratives of religious and national identity. In her series ‘The Missing Negatives of the Sonnenfeld Collection,’ Bartana uses both Israeli and Palestinian models to reimagine images from the archives of renowned Jewish-German photojournalists Leni and Herbert Sonnenfeld, who documented the settlement of Jews in Palestine / Eretz Israel in the 1930s and 1940s. In depicting her Arab and Israeli models as optimistic young soldiers, farmers, and builders working side by side, Bartana challenges the traditional ideology of the Zionist movement.
The gallery’s Grand Street location will host rotating screenings of video works by XU ZHEN®️, Hiraki Sawa and Edgardo Aragòn that explore geographic boundary lines and blur lines between fiction and reality. XU ZHEN®️’s 18 Days is a 2006 faux documentary in which the artist “invades” Myanmar, Mongolia and Russia using remote-control operated toy weapons. In a similar vein, Hiraki Sawa’s black and white video Dwelling, 2002, depicts digitally-inserted, miniature passenger airplanes that fly slowly around the artist’s nondescript apartment and probes the permeable borders between childlike fantasy and the mundane. Finally, Edgardo Aragón’s expansive work El Paso, hombre invisible, 2014, is a journey following the footsteps of buffalos as they roam the national parks of Mexico, US and Canada; a commentary on the migratory paths that set the borders of North America before the arrival of Europeans on the continent.
For inquiries regarding Borders, please contact Audrée Anid at aanid@jamescohan.com or 212.714.9500.
Please contact Sarah Stengel at sstengel@jamescohan.com or 212-714-9500 with press inquiries.
