Peak | Lehmann Maupin

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Peak

New York

10월 7일–2010년 12월 5일

201 Chrystie St

New York, NY 10002

Lehmann Maupin presents Peak, an exhibition of new works by Tony Oursler. Peak continues the artist’s exploration into the ways in which technology affects the human psyche. Focusing on humankind’s obsessive relationship to computers and other virtual platforms, the works in this exhibition are microcosmic scenes that convey the varied nature of these relationships, such as obsession, escapism, isolation and sexual fetish. The installations reference dynamic systems and models, such as flowcharts, Rube Goldberg machines and astronomical orreries. Oursler’s projections combine glass, clay, steel and other raw materials with a synthesis of performance language and rhythmic editing.

Oursler explores Masahiro Mori’s “The Uncanny Valley”, which theorizes that as inanimate objects become closer in appearance to the human form and face, mankind will find them increasingly disturbing and therefore cast into the realm of the uncanny. Oursler redefines Mori’s theory by investigating our contemporary Internet usage, viewing the Internet as a mechanical reflection of our human psyche, inducing a compulsive relationship despite its disturbing effect. The dynamic developing between humans and the virtual apparatus becomes and is an epistemological mirror of the human consciousness and, thus, is uncanny in its nature.

Installation view of Peak at Lehmann Maupin New York

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Tony Oursler (b. 1957, New York, NY; lives and works in New York, NY) is best known for his innovative integration of video, sculpture, performance and installation. A pioneering figure in new media since the 1970s, Oursler has since explored diverse methods of exploring popular culture, historical and sub-cultural themes while incorporating the moving image into his practice, breaking video art out of the two-dimensional screen to create immersive environments with the use of light sound and projections. In 2000, Oursler began a series of large scale outdoor projection projects which incorporate landscape, water, smoke, trees, architecture, performative and sculptural elements; some are permanently installed. His sculptures, wall works and installations present a rich visual multimedia experience which often incorporates cultural references and information that seeks to actively engage the viewer. His artworks often employ poetics and humor to explore a wide range of subjects such as belief systems, facial recognition, superstition, conspiracy theories, UFOs and the role technology plays in altering, inhibiting, and expanding social behavior.

Oursler received a B.F.A. from the California Institute of the Arts in 1979. Solo exhibitions of his work have been organized at Kunst Museum Winterthur, Winterthur, Switzerland (forthcoming, 2025); Boca Raton Museum of Art, Boca Raton, FL (2024); SCAI PIRAMIDE, Tokyo, Japan (2024); Photo Elysée, Lausanne, Switzerland (2022); K11 Musea, Hong Kong (2021); Kunstraum Dornbirn, Dornbirn, Austria (2021); Kaohsiung Museum of Fine Arts, Kaohsiung City, Taiwan (2021); Musée d’Arts de Nantes, Nantes, France (2020); Nanging Eye Pedestrian Bridge, Nanjing, China (2019); Public Art Fund, New York, NY (2018); The Museum of Modern Art, New York, NY (2016); LUMA Foundation, Arles, France (2015); Stedelijk Museum, Amsterdam, the Netherlands (2014); Tate Modern, London, United Kingdom (2013); Museu de Arte Moderna, São Paulo, Brazil (2013); Pinchuk Art Centre, Kiev, Ukraine (2013); Art Sonje Center, Seoul, South Korea (2012); ARoS Aarhus Kunstmuseum, Aarhus, Denmark (2012); and Jeu de Paume, Paris, France, traveling to the DA2 Domus Artium, Salamanca, Spain, and the Kunstforeningen, Copenhagen, Denmark (2005), among numerous others.

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