image text special shop

'Building is a Bridge' by Daniel Polonsky at Devyatnadsat Gallery, Moscow

Through the use of text, video, and ready-made intervention, Daniel Polonsky's Building is a Bridge recontextualizes metaphors found in architecture, and in language. Three single channel video loops present portraits of selected architectures from New York City that pose multiple meanings at their face value. One being the IAC building in Chelsea that resembles a large iceberg. A piano shaped waterfall in the front lawn of a south Brooklyn residential building, and an MTA commissioned bronze fence that resembles a large-scale honeycomb with bronze bees. A mural on one of the walls depicts two statements that form a visual peak. The statements are, it's an uphill battle, this defines the upward slope while the second statment, it's all downhill from here defines a downward slope. Playfully touching on economics by utilizing the aesthetics of the stock market. Increase or gain represented by blue and loss or decrease represented by red. This includes the charged connotations in the duality of the colors red and blue. Over the past year Polonsky followed the practices of musicians who re-purpose musical instruments in order to reach various ranges and abilities with sound. The musicians often attach various gimbals, found objects, or other instruments to their initial instrument to play multiple sounds simultaneously. Some also insert objects to mute or alter the sound of instruments. Polonksy's grandfather is also a Jazz trumpet player who was also a street performer in New York City's subway system from the early 90's through 2020. He would attach amplifiers to a body harness that would allow him to play sound that accompanied his trumpet. This harness held the speakers up allowing him to have full focus playing the trumpet. These are forms of intervention that are individual to the musicians and both have functional yet somewhat absurd elements. In understanding the necessity of intervention outside of the context of art for an individual like a musician or street performer, Polonsky chooses to appropriate these logics of intervention to form ready-made sculpture with a focus on autonomy and the instrument.

27.12.22 — 22.1.23

Photo by Natalia Melikova

Devyatnadsat Gallery

'ABSINTHE', Group Show Curated by PLAGUE at Smena, Kazan

'Pupila' by Elizabeth Burmann Littin at Two seven two gallery, Toronto

'Auxiliary Lights' by Kai Philip Trausenegger at Bildraum 07, Vienna

'Inferno' by Matthew Tully Dugan at Lomex, New York

'Зamok', Off-Site Group Project at dentistry Dr. Blumkin, Moscow

'Dog, No Leash', Group Show at Spazio Orr, Brescia

'Syllables in Heart' by Thomas Bremerstent at Salgshallen, Oslo

'Out-of-place artifact', Off-Site Project by Artem Briukhov in Birsk Fortress, Bi

'Gardening' by Daniel Drabek at Toni Areal, Zurich

'HALF TRUTHS', Group Show at Hackney Road, E2 8ET, London

'Unknown Unknowns' by Christian Roncea at West End, The Hague

'Thinking About Things That Are Thinking' by Nicolás Lamas at Meessen De Clercq,

‘Funny / Sad’, Group Show by Ian Bruner, Don Elektro & Halo, curated by Rhizome P

'Don’t Die', Group Show at No Gallery, New York

'Almost Begin' by Bronson Smillie at Afternoon Projects, Vancouver

'I'll Carry Your Heart's Gray Wing with a Trembling Hand to My Old Age', Group Sh

'hapy like a fly' by Clément Courgeon at Colette Mariana, Barcelona

'Fear of the Dark' by Jack Evans at Soup, London

Next Page