We just have to accept that we are monsters without a name.“ Whoever she was, or she is, it doesn’t matter. ![]() She triumphed over her horrible past, and lived off happy memories. It was like Light, Lelouch and Emperor Charles altogether–but without their supernatural powers. ![]() I find it uncanny how Johan lived up to the moral of the story: killing people that proved no longer useful and erasing off the face of the earth those who knew him. His ‘name-searching’ can be his living from foster parents to another, and then murdering them after when they are no longer useful. I mean, it couldn’t be more than obvious. It is very obvious who the Monster who went to the East is and who’s the Monster who went to the West. Until then, I didn’t know it to be Johan and Nina’s life story. I thought it was one of those fancy picture books of Bonaparta that makes young children go anti-social. I didn’t really understand The Nameless Monster until I finished Monster. What a shame, for Johan was such a wonderful name, too. The monster finally had a name, But all the people who could call him by that name have disappeared. We just have to accept that we are monsters without a name.” The boy ate the monster who traveled to the west. It’s a wonderful name, too.” The monster who went to the west said, “I don’t need a name. 1, New York the Museum Boijmans van Beuningen, Rotterdam among others.Ĭatalogue: Banks Violette.“I have a name. Guggenheim Museum, New York the Migros Museum fur Gegenwartskunst, Zurich Museum of Modern Art, New York Palais de Tokyo, Paris the Royal Academy, London P.S. He has also participated in group exhibitions at The Solomon R. His work has been the subject of numerous solo exhibitions, including those at Museum Dhont-Dhaenens in Deurle, Belgium Kunsthalle Wein the Modern of Art Museum of Forth Worth, Texas Kunsthalle Bergen, Norway and the Whitney Museum of American Art. He unmasks form and content as sites vulnerable to intellectual vandalism and moribund mythologizing.īanks Violette was born in 1973 and lives and works in New York. By exposing these more banal technical necessities, Violette heightens the artificial spectacle of his installation, as if willing these two canonical art historical movements into an internecine danse macabre. Wires fall in a cascade alongside the chandelier while the apparatus of steel tubes and sandbags supporting the wall remain in plain sight. Both aspects of the installation recall the monochromatic tone and the use of replaceable industrial materials common to Minimalist and Conceptual sculptors such as Donald Judd and Dan Flavin however, Violette’s works seem self-consciously constructed and theatrical. He pairs a large chandelier composed of multiple fluorescent tubes with a black wall that seems to buckle and melt against the reflection of the light. The black and white spectacle of his stark compositions belies the uneasy and fraught allusions of appropriated images and forms reconstructed as vessels of oblivion.įor this new installation, Violette continues to mine a rich art historical terrain in which the materials and forms associated with Minimal and Conceptual Art become reactivated as theatrical platforms of performative decay. Throughout his practice, he plumbs the simultaneous degradation and accretion of meaning through the process of mythology, often embodied in forms strongly associated with sub-cultural communities, personal memorials, or historical obscurities. Violette’s work ranges from haunting yet exquisitely rendered graphite drawings to sculptural installations composed of cast salt, light, and sound. ![]() Gladstone Gallery, in collaboration with Team Gallery, is pleased to announce a new installation by Banks Violette.
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