Mar 10th 2019

Walk-through: David Maljković: Also on View

@ The Renaissance Society

5811 S Ellis Ave, 4th floor, Chicago, IL 60637

Opening Sunday, March 10th, from 2PM - 3PM

On view through Sunday, April 7th

In this exhibition tour, Chicago-based artists John Henderson and B. Ingrid Olson share their perspectives on David Maljković’s various works, in which painting, photography and sculpture converge.

Henderson’s own works also blur the lines between mediums, as he uses different processes to engage with painting, including casting, printing, and electrotyping. Olson’s photographs and sculptures deploy various materials and presentation methods, often in tune with the artist’s and viewers’ bodies.

JOHN HENDERSON was born in 1984 in Minneapolis, and lives and works in Chicago. He has presented solo exhibitions at Galerie Perrotin in New York, Paris and Hong Kong; T293 in Rome and Naples; Proyectos Monclova, Mexico City; Peep-Hole, Milan; the Museum of Contemporary Art, Chicago. His work has been included in group exhibitions such as Per_forming a collection #3, Museo MADRE, Naples; Anamericana, American Academy, Rome; Expanded Painting, The Prague Biennale 6, Prague; Phantom Limb: Approaches to Painting Today, Museum of Contemporary Art, Chicago.

B. INGRID OLSON was born in 1987 in Denver, and lives and works in Chicago. Her work was featured in a two-person exhibition Klein/Olson, at the Renaissance Society in 2017. Recent solo exhibitions include Albright-Knox Art Gallery, Buffalo; Simone Subal Gallery, New York and cura.basement, Rome. Her work has been included in the group exhibitions Being: New Photography 2018, The Museum of Modern Art, New York; Lost Without Your Rhythm, Aspen Art Museum, Aspen; and Picture Fiction: Kenneth Josephson and Contemporary Photography, Museum of Contemporary Art, Chicago. Olson has a forthcoming solo exhibition at i8 Gallery, Reykjavík in June 2019.



Throughout an ever-shifting body of work, David Maljković returns to “the question of form,” asking how considerations of form itself might illuminate the ebb and flow of ideologies, for example, or the overlaying of past, present, and future. While embracing a wide range of media—including photography, painting, video, sculpture, and various hybrids—the Croatian artist has developed distinctive methods of incorporating, and refiguring, his own earlier works in new installations. Maljković brings this approach to his exhibition at the Renaissance Society, gathering elements that originate from different projects for a presentation tailored to the architectural space. Imagining a new situation for these objects and images, he lets them become a new collective body.

In the wake of major exhibitions of his work in Europe in recent years, here Maljković turns away from the impulses of a survey show—namely, to gather an artist’s output, map the territory, and convey that understanding. This is more a collection of notes or gestures, a fluid effort by the artist to consider the underlying structure of his practice, unburdened by the need for a “proper presentation” of each work. Small projected animations loop and flicker on the side walls. Three videos merge into a new mixed image. Floor sculptures foreground the marks and residues of physical production processes. On either side of a long wall, two-dimensional works merge aspects of photography, printmaking, and painting, the ensemble becoming a kind of expanded collage.

Maljković suggests seeing the works, for the moment, as “facts” rather than as “artifacts”: a set of things that exist on their own terms, decoupled from their initial intents or the values ascribed to them later. Redeployed here, the works meet each other again in new proximities. Together they may hint at the artist’s underlying methodologies, his processes, and recurring motifs, from Peugeot’s experimental concept cars to mid-century cartoons from Yugoslavian magazines; just as likely, they speak to the way artworks awaken in new contexts and in evolving configurations, questioning which aspects of the work are primary and which are secondary.

Curated by Karsten Lund

DAVID MALJKOVIĆ was born in 1973 in Rijeka, Croatia, and lives and works in Zagreb. He has presented solo exhibitions at Palais de Tokyo, Paris; Van Abbemuseum, Eindhoven; Bergen Kunsthall, Norway; BALTIC Centre for Contemporary Art, UK; Kunstmuseum St. Gallen, Switzerland; CAC Contemporary Art Center, Vilnius; Secession, Vienna; Museo Reina Sofía, Madrid; Kunstverein Hamburg; Kunsthalle Basel; Sculpture Center, New York; MoMA PS1, New York, and other museums and galleries. His work has been included in prominent group exhibitions around the world such as the 11th Gwangju Biennale; 56th Biennale di Venezia; La Triennale 2012, Paris; 29th Sao Paulo Biennial, and the 11th and 9th Istanbul Biennials, among others.

Support for Also on View is provided by FACE Croatia.

Official Website

More events on this date

Tags: , , , , , , , , ,