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DiggIñigo Manglano-Ovalle 2006
October 21, 2006- December 9, 2006
Reception: October 21, 6:00 pm - 8:00 pm
Iñigo Manglano-Ovalle
Max Protetch
511 W 22nd StMax Protetch is pleased to present Iñigo Manglano–Ovalle’s fourth solo show with the gallery. This exhibition includes video, sculpture, installation, and sound. The works cumulatively addresses diverse concerns such as climate, hierarchies of power, geo-political unrest, technology, media, and modernist architecture. Manglano-Ovalle is known for open-ended, discursive projects often produced in collaboration with architects, scientists, engineers, and other artists. His work commingles state-of-the-art technology with arresting beauty in poetic, and frequently iconic, distillations of the world.
For this exhibition, a translucent red film applied to the gallery’s front windows acts as both a filter and a looking glass, veiling the entire exhibit from the street and amplifying the presence of the street inside the gallery. A kevlar Bulletproof Umbrella serves as the show’s protagonist. The umbrella is presented both as a discrete object and a companion to a 12’ tall carbon fiber Black Jack, whose size and material renders it a simultaneously loaded and wholly inert presence.
The literally and figuratively out-of-grasp jack is set against two video works. Always After (The Glass House) offers a visual record of the aftermath of Mies van der Rohe’s grandson smashing a window of Crown Hall, a glass and steel masterpiece at the Mies van der Rohe-designed IIT campus in Chicago. Manglano-Ovalle’s work focuses on the clean-up of the glass and depicts the labor as a glacial flow. The second video work is a continuous real-time digital output that juxtaposes randomized lyrics from Bob Dylan’s Subterranean Homesick Blues with footage of a vacant exurban lot and a flickering curtain of pixels. All of these elements are affected by a constant stream of data generated by a weather station monitoring the controlled climate of the gallery.
This exhibition houses disparate forms and ideas and allows them generous space to overlap. Its objects and ideas are elusive and quickening, literally pushed beyond reach, due to scale, impregnable materials, a visual screen, their specific cultural references, or the exhibition’s undercurrent of violence. In this manner, Manglano-Ovalle willfully applies risk to the objects in the show, creating a narrative that pressures the smallest gestures of the show — the umbrella — to expand, and the largest — Black Jack — to recede. Thus the works, and the show, confront stability and meaning, challenge interpretation, and create a democratic paradise for flux. As the artist states, “My goal is to observe ethical dilemmas and create platforms for an audience to share a moment of deliberation.
Iñigo Manglano-Ovalle was born in Madrid, Spain and currently lives in Chicago, Illinois. He is a member of the faculty at the University of Chicago. He has received the John D. and Catherine T. MacArthur Foundation Fellowship; a Media Arts Award (1997-2001) from the Wexner Center for the Arts in Columbus, Ohio; a Media Arts Residency (1998-2000) from the Henry Art Gallery, University of Washington in Seattle; an ArtPace Foundation International Artist Residency Fellowship (1997) in San Antonio, Texas; and a National Endowment for the Arts Visual Artist Fellowship (1995).
He has recently produced major installations for the Singapore Biennale, ArtBasel 37, and the Liverpool Biennale. He has also recently had solo exhibitions at institutions including Rochester Art Center, Rochester, Minnesota; The Art Institute of Chicago, Chicago, Illinois; the Nelson-Atkins Museum of Art, Kansas City, Missouri; Haus Esters and Haus Lange of the Krefelder Kunstmuseen, Krefeld, Germany; and the Museo Tamayo de Arte Contemporáneo, Mexico City, Mexico.
Books and DVDs related to artists in this show
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