Detroit, MI – Wasserman Projects presents Desire Bouncing, an exhibition featuring Performance Architecture works by Alex Schweder, with participation by Alejandro Campins and Nancy Mitchnick. The exhibition highlights performative works by Schweder, created between 2001 and present, including sculptures, models, paintings, prints, and a site-‐specific, large-‐scale inflatable installation, complemented by a group of architecture-‐inspired paintings by Campins and Mitchnick. Comprising more than a dozen works, the exhibition will explore the relationships between art, architecture, place, site, and the urban condition.
“Desire Bouncing demonstrates our continued commitment to bringing together different disciplines under one roof,” says Gary Wasserman, founder of Wasserman Projects. Gallery Director, Alison Wong describes, “The exhibition navigates the past, present, and future of architectural landscapes through the artists’ personal and unique take on the world around them.”
Meeting at the intersection of architecture and performance art, Schweder’s ‘performance architecture’ is based on a notion that the relationships between occupied spaces and occupying objects are permeable. Often interactive, Schweder’s installations aim to break the rules of architecture that normally cause us as occupants of a space to act a certain way, challenging visitors’ expectations and perceptions. His provocative examinations of our relationship with our environments have brought the artist international acclaim with solo exhibitions in the US, Germany, Switzerland, Russia, and Israel. Wasserman Projects has presented Schweder’s installation “Evaporative Buildings” at Eastern Market After Dark in conjunction with Detroit Design Festival in September 2015.
Desire Bouncing will offer viewers the opportunity to observe and interact with Schweder’s objects and spaces. The centerpiece of the exhibition will be a large-‐scale inflatable installation The Sound and The Future (2016), created specially for this exhibition and scored to a remix of altered sample tracks from Detroit's techno collective, Underground Resistance. Measuring 15’ x 15’ x15’ and covered in metallic vinyl and faux fur, this “architectural robot” will use fan-‐blown air to inflate and deflate its “limbs,” which will allow it to move freely in the gallery creating different spaces that require other occupants to interpret how they will behave in relation to it.
Also included in the exhibition is a model of “Counterweight Roommate,” a 5-‐story self-‐contained living unit with facilities for eating, sleeping, and working, created with Ward Shelley and presented at Scope Basel in 2011. The project was recently acquired by the Museum of Modern Art in New York – one of only a handful of performance art works to be included in its permanent collection. A sculptural work from Peescapes, Schweder’s 2001 series be on display as well as recent text based works, drawings, and paintings.
Schweder’s work speaks to more than just the built structure but also how it informs us to act and interact with objects and environments. His works challenge norms and existing standards of architecture, specifically in the series Peescapes which calls into question the gendering of public toilets. Schweder’s work covers a wide range, with a nod to history as well as a glimpse to what may lie ahead. The Sound and The Future takes an optimistic approach to the possibilities that may be, propelling forward with pleasure and agency. Charged with this energy, the work is simultaneously playful in its material and movements as well as imposing in its scale and forced interactions.
Simultaneously, Desire Bouncing will feature architecture-‐inspired works by a Cuban painter, Alejandro Campins, and Detroit-‐based artist Nancy Mitchnick. While Schweder’s “The Sound and The Future” invites the viewer to physically interact with the structure, the paintings of Campins and Mitchnick appeal to our emotional connection to architecture. Campins’ two oversized, sober, atmospheric paintings, inspired by Detroit’s iconic theaters, exemplify his romantic vision of the urban landscapes. In his works, Campins is able to capture physical places that exist only in memories, recreating the gone past and glimpsing the future to come. Concurrently with Desire Bouncing, he will have his first New York solo exhibition Lapse at Sean Kelly Gallery (Feb 12 – March 12).
Detroit based Mitchnick will be exhibiting a several paintings from her on ongoing series
“Detroit: dismantling cities in Middle America”. The works stem from her love affair with the city and the beauty that she finds in it. She describes the structures in her paintings as
“monuments to their former communities” and the series as a “love-‐poem to abandoned neighborhoods”. Mitchnick will open a solo exhibition at the Museum of Contemporary Art Detroit (MOCAD) on May 6.