CURRENT REVIEWS
A review of 'Busan Biennale' featuring Kelly Richardson's work will be included in the December issue of Vie Des Arts.
ARTFORUM
A review of 'Twilight Avenger' will be featured in the November issue of Artforum.
The Globe and Mail
A review of 'Twilight Avenger' was featured in this Saturday's (Aug 9) The Globe and Mail.
Now Magazine
A review of 'Twilight Avenger' was featured the week of Aug 7 in Toronto's Now Magazine (click the link to read the review).
Akimblog
A review of 'Twilight Avenger' on Akimblog (click the link to read the review).
Border Crossings
A review of 'Forest Park' at the KW|AG, Canada is featured in Border Crossings (Issue No. 106, Summer, 2008)
NEW PUBLICATIONS
Further information to follow the opening of the Busan Biennale 2008.
Text by: Kerry Brougher, Kelly Gordon, Anne Ellegood,
Kristen Hileman, Tony Oursler
Published by: Hirshhorn Museum and Sculpture Garden
Washington, D.C., USA
CURRENT
"Busan Biennale 2008: Expenditure"
September 6 - November 15, 2008
Busan, South Korea
The 2008 Busan Biennale unfolds at the Busan Museum of Modern Art, Gwangalli Beach, and APEC Naru Park between September 6th to November 15th under the theme of "Expenditure." For further information please visit www.busanbiennale.org.
FORTHCOMING
summer, 2009
Buffalo, USA
RECENT
"Mark Napier and Kelly Richardson"
September 18 - October 08, 2008
curated by Jillian Macdonald
New York, NY
"Invisible Cities"
October 2-6, 2008
curated by Micaela Giovannotti
Toronto, Canada
A group exhibition of moving image works by artists including Douglas Gordon, Mark Lewis, Stefano Cagol, Kelly Richardson, among others.
"Twilight Avenger"
July 24 - September 6, 2008
Toronto, Canada
Solo exhibition featuring two new video installations and a series of photographs.
Hirshhorn Museum and Sculpture Garden
"The Cinema Effect: Illusion, Reality and the Moving Image"
February 14 - May 11, 2008
Washington, D.C., USA
Exiles of the Shattered Star was recently included in an exhibition entitled The Cinema Effect: Illusion, Reality and The Moving Image, Part 1 Dreams at the Hirshhorn Museum and Sculpture Garden. 'The cinema, its technology (including later offshoots like television and the internet) and its vocabulary have permeated contemporary culture to the extent that the very boundaries between "real life" and make-believe are often indistinct - sometimes even indecipherable. "The Cinema Effect" is a two-part exhibition that focuses on contemporary works of art and the ways in which they adapt, challenge or reflect the influence of cinema and its blurring of definitions of fact and fiction. Both exhibitions include film and media installations by a range of international artists including Omar Fast, Gary Hill, Isaac Julien, Steve McQueen, Tony Oursler, Runa Islam and Kelly Richardson, among others.'
"The Cinema Effect: Illusion, Reality and the Moving Image"
February 14 - May 11, 2008
Washington, D.C., USA
Exiles of the Shattered Star was recently included in an exhibition entitled The Cinema Effect: Illusion, Reality and The Moving Image, Part 1 Dreams at the Hirshhorn Museum and Sculpture Garden. 'The cinema, its technology (including later offshoots like television and the internet) and its vocabulary have permeated contemporary culture to the extent that the very boundaries between "real life" and make-believe are often indistinct - sometimes even indecipherable. "The Cinema Effect" is a two-part exhibition that focuses on contemporary works of art and the ways in which they adapt, challenge or reflect the influence of cinema and its blurring of definitions of fact and fiction. Both exhibitions include film and media installations by a range of international artists including Omar Fast, Gary Hill, Isaac Julien, Steve McQueen, Tony Oursler, Runa Islam and Kelly Richardson, among others.'
KW|AG
"Forest Park"
January 11 - March 25, 2008
Kitchener, Ontario, Canada
Kelly Richardson’s work has consistently offered viewers a beautified view of pending doom – a sense of awe and tranquil disaster via digitally manipulated images of unpopulated landscapes. For her exhibition at KW|AG, Richardson premieres Forest Park, a new two-channel video projection which features a not-so-freshly cleared lot for a future housing development. The otherwise vacant vista is punctuated by numerous gently flickering streetlights. Richardson’s Exiles of the Shattered Star, featured in KW|AG’s foyer, presents an English countryside showered with the flaming remnants of a distant place. In each of these works, Richardson proposes a sublime mix of both fantasy and reality in images that are as much about the present as they are the future. A printed and online publication featuring texts by John Massier, curator of HALLWALLS (Buffalo, NY) and Assistant Curator Crystal Mowry (KW|AG) is available at www.kwag.on.ca.
"Forest Park"
January 11 - March 25, 2008
Kitchener, Ontario, Canada
Kelly Richardson’s work has consistently offered viewers a beautified view of pending doom – a sense of awe and tranquil disaster via digitally manipulated images of unpopulated landscapes. For her exhibition at KW|AG, Richardson premieres Forest Park, a new two-channel video projection which features a not-so-freshly cleared lot for a future housing development. The otherwise vacant vista is punctuated by numerous gently flickering streetlights. Richardson’s Exiles of the Shattered Star, featured in KW|AG’s foyer, presents an English countryside showered with the flaming remnants of a distant place. In each of these works, Richardson proposes a sublime mix of both fantasy and reality in images that are as much about the present as they are the future. A printed and online publication featuring texts by John Massier, curator of HALLWALLS (Buffalo, NY) and Assistant Curator Crystal Mowry (KW|AG) is available at www.kwag.on.ca.
HALLWALLS
"The Edge of Everything"
January 12 - February 16 , 2008
Buffalo, New York, USA
UK-based Canadian artist Kelly Richardson’s single channel video work focuses on the resolution of the sublime from ordinary or flawed moments, amassing an accumulation of often conflicting sensations. Richardson is interested in creating contemplative spaces of rapturous visual allure, loaded with double meaning and exploring the simultaneity of the magnificent and the dreadful. Cinematic language is used as a means of concocting landscapes that are part real, part imagined, a hybrid reality that accentuates and questions our ambiguous place in the world.
There are no other protagonists in Richardson’s work, other than perhaps Time itself. Even within scenes where one might expect a human figure, none are evident. Instead, Richardson is enfolding the viewer into successive imaginary spaces within which the essential ingredients are simultaneity of action and sensation. Action—even when limited—repeats forever. Sensation—borne of repeated action and a seductive, engrossing image—blossoms to fill and expand the moment. There is no single endpoint to this heady blend of elements—Richardson’s works evoke the complex and contradictory sensation of life: anxious, hilarious, ominous, rapturous. The edge of everything is the springboard from which Richardson hurls her work and the viewer into the ether of possibility.
"The Edge of Everything"
January 12 - February 16 , 2008
Buffalo, New York, USA
UK-based Canadian artist Kelly Richardson’s single channel video work focuses on the resolution of the sublime from ordinary or flawed moments, amassing an accumulation of often conflicting sensations. Richardson is interested in creating contemplative spaces of rapturous visual allure, loaded with double meaning and exploring the simultaneity of the magnificent and the dreadful. Cinematic language is used as a means of concocting landscapes that are part real, part imagined, a hybrid reality that accentuates and questions our ambiguous place in the world.
There are no other protagonists in Richardson’s work, other than perhaps Time itself. Even within scenes where one might expect a human figure, none are evident. Instead, Richardson is enfolding the viewer into successive imaginary spaces within which the essential ingredients are simultaneity of action and sensation. Action—even when limited—repeats forever. Sensation—borne of repeated action and a seductive, engrossing image—blossoms to fill and expand the moment. There is no single endpoint to this heady blend of elements—Richardson’s works evoke the complex and contradictory sensation of life: anxious, hilarious, ominous, rapturous. The edge of everything is the springboard from which Richardson hurls her work and the viewer into the ether of possibility.
