Amir Chasson

 

Upcoming February 12th 2016

SKJERP DEG
February 12th – March 12th 2016
PRIVATE VIEW 11th of February 2016
6:30 - 9:00PM
at Kristin Hjellegjerde, London

 

 

 

 


Est-Nord-Est résidence d'artistes / photo: Jean-Sebastien Veilleux


Est-Nord-Est résidence d'artistes / photo: Jean-Sebastien Veilleux


Est-Nord-Est résidence d'artistes / photo: Jean-Sebastien Veilleux


Est-Nord-Est résidence d'artistes / photo: Jean-Sebastien Veilleux


Est-Nord-Est résidence d'artistes / photo: Jean-Sebastien Veilleux


Phosphorous Poisoning, 2015, wood carvings on wooden blocks, various sizes
Installation shots, Est-Nord-Est résidence d'artistes, Saint-Jean-Port-Joli, Québec, 2015. 


Portes ouvertes
5@7
Le jeudi 18 juin 2015
dans les locaux
d'Est-Nord-Est, résidence d'artistes
335, de Gaspé Ouest (rte 132)
Saint-Jean-Port-joli

Les artistes Amir Chasson (Londres, Royaume Uni), Paul Duncombe (France)
 Marilyne Fournier (Canada), et Victor Remere (France)
vous convient chaleureusement à les rencontrer dans leur studio respectif
 afin de vous partager leurs expériences créatives.
Construction vernaculaire, allégorie et installation
sont au rendez-vous.

Réservez votre soirée le jeudi 18 juin!

Faites découvrir Est-Nord-Est à un(e) ami(e).

Des canapés et un apéritif vous seront servis.

Bienvenue à tous.

SAINT-JEAN-PORT-JOLI - Avec le printemps, le retour des oies sauvages et l’arrivée prochaine des têtes de violon, l’équipe d’Est-Nord-Est est heureuse d’accueillir en résidence, les artistes Amir Chasson (Israël / Royaume-Uni), Paul Duncombe (France) Marilyne Fournier (Canada) et Victor Remere (France).

Invitation
Présentations publiques
5@7
jeudi le 14 mai 2015

Vous êtes cordialement invités à venir rencontrer les artistes qui présenteront leur démarche et leur projet de résidence,  le jeudi 14 mai 2015  dans les locaux d’Est-Nord-Est à Saint-Jean-Port-Joli situé au 335, avenue de Gaspé Ouest.
Un petit repas amical suivra les présentations.
Bienvenue à tous!

Amir Chasson (Royaume-Uni) traite les graphiques comme des corps ayant de puissantes physionomies informationnelles, dont nous ne possédons pas les outils pour comprendre. Il affirme aussi que le diagramme financier possède une physionomie tout comme l’image. Amir Chasson est né en Israël, travaille et vit à Londres. Il détient une maîtrise de l’École de Design de l’Université Middlesex à Londres et une maîtrise de l’École des Beaux-Arts de l’Université Goldsmiths à Londres.

 

 

Bottom Natures, Café Gallery Projects, Southwark Park, London

Amir Chasson | Matthew Clements | Lucy Clout | Julika Gittner | Anthony Green | Laura Morrison | Sianne Ngai | Joscha Schell | Daniel Shanken
Curated by Matthew McQuillan.
CGP, Southwark Park, London SE16 2UA

1 April - 3 May 2015   //   Private View:  Sunday 29 march // 2-4pm
Exhibition open:  Wednesday - Sunday // 11am–5pm

What stuplimity relies on is an anti-auratic, anti-cynical tedium that at times deliberately risks seeming obtuse, as opposed to making claims for spiritual transcendence or ironic distance.

What happens when a work hugs too tight; when it refuses to grant the viewer the distance for a cool, detached reading? Or when a work overloads; when it showers information, references and signifiers upon the casual bystander?
Taking its title from the novelist Gertrude Stein, Bottom Natures sets out to explore ideas of proximity and pace, in relation to artwork. Stein used the expression to describe the structuring and word-play found within tender buttons, her book of poetic vignettes on objects, food and rooms. Tender buttons playfully dismantles words and meaning to their bare-essentials. When reading, a gap appears between cause and effect – a brake in the chain of connectives, which forces the reader to stop and grapple with language; how to make sense, what sense and for whom.

This exhibition will explore the bottom nature of art and art making. In this context, Bottom Natures is a state which renders the viewer tongue tied or dumbstruck. This obstructive state has the potential to mislead and muddle ones mental faculties and perhaps, to better question what grounds these faculties in the first place. The exhibition features British and international artists, working in an array of media, including painting, drawing, sculpture, and video; with works that deploy repetition, humour, ambiguity, and contradiction to muddy the viewer’s reading. It includes an interview with theorist and critic Sianne Ngai, whose essay Stuplimity, has informed the exhibition’s focus. There will also be a coinciding day of lectures and presentations from invited speakers, organised by theorist and writer, Matthew Clements.
Anthony green’s absolute redundancy, will function as a prologue for the exhibition. This graphite drawing is composed of two black holes on a slightly soiled but otherwise empty, page. The drawing slips between depiction and abstraction: in one sense it is empty, devoid; in another these are holes or stumps, exits and entrances; and because it is both and neither, it tires itself out. Other works include Lucy Clout’s shrugging offing, a single-channel HD video, set in a pattern cutting studio and inspired by her research into ASMR youtube entries; and a newly commissioned, large scale, plasticine wall relief, by Laura Morrison. These works will operate on a range of tempos and intensities, to interrogate the thematic of Bottom Natures. The specially commissioned interview and coinciding events day offer an alternate platform for considering the exhibition as a whole, and extending these ideas beyond the gallery remit.
Sianne Ngai. Ugly feelings (p278), (first Harvard University Press paperback edition, 2007)
Exhibition closed Saturday, 2 may for related event ‘Unpunctual Encounters’.

 

 

 

Concerning The Bodyguard, Tetley, Leeds, 2014

Benjamin Orlow, Amir Chasson, Sidsel Christensen, James Iveson, Nina Wakeford, Daniel Lichtman, Evariste Maïga, Jessica Tsang,
Matthew McQuillan, Warren McLachlan, Laura Morrison, JL Murtaugh, Ciarán Ó Dochartaigh, Nathan Witt and Alison Ballance

12 September - 2 November 2014
Co-curated by Laura Morrison

“Can the bodyguard adduce instances of professional success? Had he a previous client? How much does pleasing matter? Is it the case that, on a certain morning, the garbage cans of the city, the garbage cans of the entire country, are overflowing with empty champagne bottles? Which bodyguard is at fault?”
* Barthelme, D. “Concerning The Bodyguard.” The New Yorker (1978): 36
This large-scale group show, co-curated by artist Laura Morrison, takes American writer Donald Barthelme’s short story of the same name as a provocative starting point to consider how current modes of expression assume the distanced observer and represent, protect and expose the vulnerable subject.
In Barthelme’s story, the narrator builds the character of a bodyguard by accumulating doubts and uncertainties with a cool, detached questioning in order to illustrate the bodyguard’s relative lack of power in relation to his employer. Through a rhetorical layering of vulnerability and security the narrator preserves the reader’s distance to the bodyguard’s personal, social and political experience.
With work in video, performance, painting, photography and sculpture, spanning topics such as the encounter with a lesbian archive, life in a contemporary military service institution and the explosion of the Minneapolis synth-funk scene, this show offers the chance to consider if and how detached narration, which limits how we speak and act, can be challenged. Works are located across the First Floor Galleries and on the Ground Floor.
The exhibition follows a research residency at The Tetley and will be accompanied by a programme of events and commissioned texts by writers including Gil Leung and Rebecca Bligh. Check back for more details on events across the exhibition and follow www.concerningthebodyguard.co.uk for live updates of new material.
Thursday 11 September 2014, 6-8pm
Join us for the launch of Concerning The Bodyguard.
Thursday 2 October 2014, 6-8pm
Performance and screening event. FREE, all welcome, no need to book.
Saturday 25 & Sunday 26 October, 1-5pm
Weekend Symposium. FREE, all welcome, no need to book.
Supported by: Arts Council England and Leeds City Council
Image: Ciarán Ó Dochartaigh - new work for Concerning The Bodyguard.
Click here to find out more about the artists and their work

 

 

Days of Oil & Gas, 2013, Kristin Hjellegjerde Gallery, London 2013

Press Release

AMIR CHASSON - Days of Oil & Gas
PRIVATE VIEW: Thursday, 27th of June
6:30 - 9:00PM 

Kristin Hjellegjerde Gallery, London, is proud to present the solo exhibition ‘Days of Oil and Gas’, featuring a large-scale installation by Amir Chasson. Running from 28th June to 27th July, Chasson’s 18 metre-long canvas will wind around the gallery like a slumbering leviathan, embracing walls and cutting the space in half, transcending its two-dimensional presence to expand into and occupy the gallery space.

The gargantuan painting that comprises Days of Oil and Gas is both a traditional panoramic work and a site-specific installation, created to fit the exact measurements of the gallery. The painting shows a group of corporate executives sitting at a conference table. But it is so large that it is hard to take in: the viewer must circle the space to comprehend it.
Inevitably, you wonder who these people are. But for Chasson, the faces have no intrinsic meaning: they are composites made from randomly-selected images.
“What is more important to me than the subject matter is the idea of this huge work being forced into a small space. I wanted to give a sense of a painting that has leapt off the wall and grown to monstrous proportions, to completely dominate the gallery. So much so, in fact, that it leaves you almost no room to move. Unlike a painting on a wall, silent and contained, this is an aggressive work that intrudes on you, invades your space and will not be ignored.”

The rough, unfinished reverse side of the canvas can also not be ignored: it is very purposefully left on full display. This interplay between front and back was a prominent feature of Chasson’s last solo show, My French Nurse’s Dream (Outpost Gallery, Norwich, August 2012), in which the “backstage” aspect of the work was just as important as what was “onstage”. Chasson is intrigued by the idea of peeking behind the theatre curtains to see how the illusion is constructed. “What happens if you go behind the scenes of a puppet theatre?” he asks. “On one level, it can be disappointing to see how it all works. But it can also provide another way to view the work.”
In this context, the faces in the paintings are like puppets in a puppet show, with no insight into the strings and winches hiding in the wings, behind the curtains, that animate them.

The faces are also another aspect of the interplay between front and back. Chasson sees the face as a veneer that ultimately betrays what lies beneath - "the neuroses that always come to the surface, whether through a skin rash or a sad, longing gaze”. The wrinkled surface of the raw, fleshy canvas, exposed on both sides as the viewer circumnavigates the work, can also be seen as a kind of skin.
The installation creates a sense of discomfort, challenging the viewer to look deeper, the very presence of the painting cutting across fields of vision, its great size coiled like a spring stuffed into a box, or a square peg into a round hole – at once a serious miscalculation of space and dimensions, and a carefully-planned interplay of presence and non-presence, both obstructing and revealing.
Days of Oil and Gas runs from 28th of June–27th of July at Kristin Hjellegjerde Gallery, London, UK.

Information for journalists:
Born in Israel, British artist Amir Chasson received his MFA in Fine Art from Goldsmiths University, London, in 2010, preceded by an MA in Design from Middlesex University (2007). Previous exhibitions have included a solo show at Outpost, Norwich and Manmadegod at ArtEco Gallery, both in 2012. Chasson has won numerous awards, including The Abbey Award for a Fellowship at The British School at Rome (2012). His work was twice selected for Bloomberg New Contemporaries (2009 and 2010). Chasson’s work can be found in private and public collections, including Goldmiths College and The Saatchi Gallery in London, where it is currently on view as part of ‘New Order: British Art Today’ running until 29 September 2013.

 

 

I Have Lived, British School at Rome, December 2012

BSR Fine Arts Mostra: Friday 14 december 2012, 18.30 (private view)

Tom Brigden, Amir Chasson, Anne-Marie Creamer, Michele Di Menna, Katy Kirbach, Michael Needham, Candida Powell-Williams, Tao Sule-Dufour
Inaugurazione: Venerdì 14 Dicembre 2012, ore 18.30-21.30

Inaugurazione: venerdì 14 dicembre 2012, ore 18.30-21.30
Lunedì-sabato, ore 16.30-19.00, fino a sabato 22 dicembre

The British School at Rome
Via Gramsci 61, 00197 Roma
www.bsr.ac.uk

‘I Have Lived’ è la prima mostra per il 2012-13 del programma Fine Arts dell’Accademia Britannica, diretto da Jacopo Benci. La mostra, sostenuta in parte da Edwin Abbey Trust, Australia Council for the Arts, Derek Hill Foundation, Linbury Trust, Nicholas Berwin Charitable Trust, Giles Worsley Fund/RIBA, presenta nuove opere dei residenti attuali, gli architetti Thomas Brigden e Tao Sule-DuFour e gli artisti Amir Chasson, Anne-Marie Creamer, Michèle Di Menna, Katy Kirbach, Michael Needham, Candida Powell-Williams
Per ulteriori informazioni, si prega di contattare Reshma Narain, Fine Arts Intern, finearts@bsrome.it

Amir Chasson (Abbey Fellow in Painting, ottobre-dicembre 2012) vive e lavora a Londra. Ha conseguito il MA in Design presso la Middlesex University (2007) e il MFA in Fine Art presso il Goldsmiths’ College (2010). Il suo lavoro è stato selezionato due volte per Bloomberg New Contemporaries (2009 e 2010), e preselezionato per il Jerwood Drawing Prize (2009) e per la Jerwood Painting Fellowship (2011). Opere di Amir saranno incluse nella mostra Painters’ Painters, che aprirà tra breve alla Saatchi Gallery di Londra. Le sue mostre recenti includono Manmadegod, ArtEco, Londra; MINITS 4, Peckham Artist Moving Image Festival, Londra, e My French Nurse’s Dream (personale) Outpost Gallery, Norwich (2012).
“Gli uomini nei dipinti di Amir Chasson hanno volti familiari. Non è il fastidioso “dove li ho visti?” che si ricava dal fuggevole incontro con un personaggio televisivo minore (anche se i suoi soggetti precedenti includevano astronauti, nazisti e battitori di aste d’arte). Piuttosto, è che di solito il suo cast di uomini di mezz’età con pochi capelli, cravatte di cattivo gusto o fruste magliette polo sono l'epitome del Signor Normale –gente così ordinaria che è impossibile definirla socialmente. Raffigurati con lineamenti sghembi e gonfi, nasi ingrossati, occhi un po’ sbilenchi, questi ‘everymen’ sono messi a contrasto con dipinti che suggeriscono dati, che rappresentano grafici a torta o diagrammi topografici. Nel caso odierno, si tratta di pesi rotondi verdi messi uno sull’altro come siepi ambiziosamente potate. Originariamente formatosi come designer, Chasson è affascinato dal modo in cui i grafici astratti vengono utilizzati per rappresentare la società. Gli individui evocati dai suoi ritratti sfuggono a ogni facile classificazione.” (The Guardian, agosto 2012)

 

My French Nurse’s Dream, 2012, household gloss on canvas (107 panels), screws, metal brackets, mirror plates, hinges,
(5x5x3 m approx.) with 4 portraits (oil on canvas, 60 x 76 cm each) and a found press photo in a found picture frame, 
(20 x 30 cm). Installation view, Outpost, Norwich, August 2012

Press Release

AMIR CHASSON
My French Nurse’s Dream
O U T P O S T
2 August to 21 August 2012
12 noon to 6pm daily
Opening View: Wednesday 1 August, 6 - 9pm
Open to public - admission free

OUTPOST is pleased to present an exhibition by artist member, Amir Chasson.

In recent years, Chasson has contrasted gently distorted faces with something altogether different. Unknown data, in the form of painted charts, diagrams and organic formations, both familiar and imagined, are the antithesis of the portraits with which they are paired. Side by side and coolly disassociated, each gestures a sense of meaning towards the other, but does not undermine or confuse. The pairings sit in equal balance, but ultimately neither acknowledges its opposite.

Dominating the entire gallery space, a large zig-zagging structure stretches upwards, past the metal girders to reach the apex of the roof. A combination of smaller canvases bolted together, this hybrid sculptural, yet painterly structure is a seemingly changeable entity. Variations of the same pictographic symbol, recalling those which mirror Chasson’s figurative paintings, ascend the canvas surfaces in precise columns. Although the structure dominates the space, Chasson’s conventionally sized portraits can be also be viewed on the gallery walls around its different levels.

The imagery painted on the canvas composition is reminiscent of an outdated weight system. Rounded shapes rendered in bold green colours peak and trough in climbing tendrils, at times breaking apart. There is little movement in this composite object compared to previous geometric works, yet this new form of stacked paintings elicits a sense of weight and depth, reinforcing the entire presence of the structure in the room. Similarly in the past, pictorial movement in Chasson’s diagrammatic forms had encouraged expression in the adjacent portraiture, as if the physiognomy of each anonymous subject was smiling, jeering at you. In comparison, the weight brought about by these round, stacked shapes stirs something altogether different in each uncanny, painted face looking at you.

Chasson’s pairing of faces with quasi-real geometric objects willfully invites unpredictable associations from viewers encountering each uncanny work. Imagined painted geometry both contradicts and heightens the strange physiognomy of the portrait, making you question the face peering back at you, do you recognise them? Are they familiar somehow? Even when the gallery space is engulfed by such an overwhelming structure, it is at this moment that the face becomes something more expressive, conveying a personality  emphasised by painted objects positioned around it.

Amir Chasson is an artist who lives and works in London. He studied Fine Art at Goldsmiths graduating in 2010. Recent group exhibitions include Drawing 2011, The Drawing Room, London (2011), Salon, Doubtfire Gallery, Edinburgh (2011), Bloomberg New Contemporaries 2009 and 2010, ICA, London and A Foundation, Liverpool (2010). Future exhibitions include Manmadegod, ArtEco, London (August) and Painters’ Painters, Saatchi Gallery, London. 

For more information please contact questions@norwichoutpost.org OUTPOST/10b Wensum Street/Norwich/NR3 1HR
Tel: +44 (0) 1603 612428
questions@norwichoutpost.org 
www.norwichoutpost.org


Special edition for Outpost, 2012 (elevenses box and a found Photograph),
edition of 4. 129 x 185 x 45 mm
£2.99 (Additional £6 Postage)

 

 

Special edition for poster for Misery Connoisseur, Issue 1, December 2012. edition of 50.
420 x 594 mm
£22.50 excl. UK postage

Text and layout for Misery Connoisseur, Issue 1, December 2012