Aaron Aujla, Gabriele Beveridge, Andy Boot, Sophie Bueno-Boutellier, Sarah Crowner, Robert Davis, Michael DeLucia, Tomas Downes, Ed Fornieles, Raphael Hefti, Julian Hoeber, Parker Ito, Sachin Kaeley, Barbara Kasten, Sean Kennedy, Jason Kraus, James Krone, Daniel Lefcourt, Tony Lewis, Lloyd Corporation, Andrea Longacre-White, Marie Lund, Dave McDermott, Matthew Metzger, Carter Mull, David Ostrowski, Virginia Overton, Michael Part, Hayal Pozanti, Noam Rappaport, Davina Semo, Lucien Smith, Chris Succo, Mika Tajima, Oscar Tuazon, Artie Vierkant, Emily Wardill.

 

Indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing.

Robert Morris, Notes on Sculpture 4: Beyond Objects, Artforum, 1968 

 

The term Anti Form, formulated by Robert Morris at the end of the ‘60’s marks the abandonment of the traditional concept of artistic production: a radical challenge that has catalyzed the attention towards new aesthetic models. Materials become the prominent elements of the artwork’s compositional process, prevailing on the necessity, essential in Minimalism, to plan and arrange beforehand.

The progressive ideas divulged through the Anti Form Manifesto, once considered subversive, are translated, today, in the theories that identify an increasingly globalized art structure. 

 

Brand New Gallery departs from these assumptions to present Beyond the Object, a group show appositely conceived to combine works by artists with disparate backgrounds and from different generations, inevitably forced to confront themselves with production, exploring the interaction between composition and form which radically becomes an archetype endowed with its own language.

The artists employ a post-minimalist lexicon, occasionally pictorial, at times closer to installation and assemblage of daily materials, to underline the experiential role of art as a tool to generate new perceptive possibilities in the disoriented spectator. The act of creation coincides with the process of production. The relationship between the real space into which the spectator moves and the physical presence of the piece gains more and more importance for these artists who invite the public to interact with their works in a physical dialogue which allows an empirical recognition of the object.