Thursday, 3 September 2009

ESIRI ERHERIENE-ESSI / Ronmandos


Ronmandos
ROTTERDAM
06.09.09 - 10.10.09
http://www.ronmandos.nl

'I DON'T LIKE NOSTALGIA UNLESS IT'S MINE

ESIRI ERHERIENE-ESSI

We warmly welcome you to the opening of this solo presentation from the talented painter Esiri Erheriene-Essi on Sunday September 6 from 2 to 7pm.The artist will be present on that occasion.

Esiri Erheriene-Essi (London (UK), 1982) only started painting few years ago, after she came across the work of Lucian Freud, which “can capture her constant distracted mind first with awe, then envy, then hatred.” Her work is inhabited with icons from musical and film history, not afraid to confront the viewer with racial issues. She paints at high speed, using lots of colour, almost ‘moulding’ the paint in place. On her website she writes:

“Identities are nowt but constructions and not fixed so mine is always changing. I originally set out to try and save the world, but now I’m not sure I like it enough. It is sometimes the small, unimportant and often forgotten components of daily life that say the most about us, and which can take on iconic status if we allow them the space to do so. Inspiration for my work is sourced from my everyday bewilderment at things and images I see, situations and stories I encounter or remember, cultural references, icons, and music that are part of, yet not exclusive to my own life. My work can simply be condensed into the John Baldessari quote: ‘Historical mispronounced sounds like hysterical.”

(Esiri Erheriene-Essi)

Esiri Erheriene-Essi recently graduated from the prestigious post graduate residency De Ateliers in Amsterdam. In 2006 she finished a master in Fine Arts at the University of East London, after completing her bachelor in Media Studies at the same university. Her work was exhibited in several galleries in London and Amsterdam.

Dot Dot Dot

Can't remember where this is...


Sender Brocken

interlude

Clashmaker


Clashmaker
Flickr

ground effect vehicle







I have a real childlike fascination with Platypusesque Ground Effect Vehicle or Ekranoplan. This too-perfect-to-be-true meeting point between aircraft, boat and Googie architecture-turned-engineering is so beautiful. Its as if someone boiled down the most optimistic dreams of both sides of the Cold War.




The photographs at the top show the relics of these machines littered around Eastern Europe, which is a perfectly poetic end.

Princess Yuki Retains The State Project Statement




Princess Yuki Retains The State
2009
Dimensions variable in relation to site of display
Wood, fixings, oil and gloss paint, Dammar gum, cotton, found object, photocopies, rabbit skin glue, cartridge paper, wool, rubber, acrylic, glass jars, cacti, iodine, bamboo, leather.

Project Statements

Friday 31st July 2009

Statement One:
A personification of the Modernist ideal is the heroic individual reconsidering a relationship with history and trimming of the fat from language and aesthetics.

Statement Two:
In 1930 Eberhard Koebel designs the Kohte, the “Black Tent” that will come to represented the identity of the Bündische Jugend and also later the Edelweißpiraten. In 1935 any use of the Kohte is outlawed by The Hitler-Jugend, and remained so until the end the Second World War.
The Kohte breaks down into a number of small elements which are carried by individual members of the troop in their packs. The Kohte can be assembled in a number of configurations as required, poles are acquired at the site or tree can be used as an in situ means of support, multiple troops can combine their elements for further combinations depending on terrain and need.

Statement Three:
In 1958 the Akira Kurosawa directed film Kakushi toride no san akunin is released. The film follows the story of a displaced monarch return journey home. Princess Yuki is isolated beyond the boundaries of allied territory after a war, and must travel through hostile countries in the guise of a deaf and dumb farm girl a necessary cover story to prevent her speech from giving away her true identity.
During the course of this journey it is made clear that an entire nation resides Princess Yuki. An institution in terms of ideology, economy, culture and history has been folded down, stripped of of everything physical, which is to say ephemeral and so now exist as a shared idea pertaining to the aura (to bend Walter Benjamin’s language) of an individual.

interlude

Hidden Fortress



I had a dream that I was on a river ferry with a feudal Japanese prince on a fishing excursion. I had to wear the ceremonial armour so that if the raft capsised he would not drown.
This image has been sitting in my mind on and off for most of today. What brought me to write it down here is perhaps the direct importance of ceremony in the scenario, the armour must be worn and the entourage are extensions of the prince.