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Show Statement

All capitalistic canalization overflown. Here production follows a different agenda.

During Berlin winter 2007, Eilers and Xedro happened to be resident in a nearly empty post-soviet flat. A large side window was the master wall. There was this amazing space whose restroom area took more floor than it should have. A series of sculptures made out of scrap were expanding from the bathtub, set in the shower box like in a ready-to-be-alarmed vitrine. As I was previously told, any piece that entered that royal toilet was about to be demolished in a couple of hours. Hopefully there is a documentation of the smash – a film yet unknown at present date. In the main room: an inflatable used as a bed, a tent used as sporadic depo, a cage zone hosting a vertical, imaginary alcove for a music I had never heard before.

You see, the cage trope comes back. Like in Coolhaus, 2008, which makes you snoop into a fly-through cell scenario. A cell quite expensively studied, maybe a hotel room.

This whole body of works had a sleazy entity, not truly disturbing, not classifiable, and strange enough, not at all absorbing the vacant freedom of the environment. Assemblages of matter raising from the pavement, some hanging from the ceiling.

Initiated canvases were suspended like flags or rolled open like portrait carpets. Everything I saw in there had been generated, brought together to remain in fieri: conceptually and physically movable. Possibly slowly. Tentatively a convenience. In some way, that studio can determine in my memory a quality that blends discretion and eminence.

Just tell me one thing, one infinite Kurt Schwitters column, how would it look today?

Transparent cans filled with garbage to support a table desk. Pieces of everyday life communication are converted into art objects and thereby de-literalized – illusionistic spaces, a computer interface collage, rural economy: Screen grab, 2008 – are they content or are they form? They are neither.

As I recall, I know you love to show off. But I never thought that you would take it this far. – Francesca Lacatena

CV

Debo Eilers

Lives and works in New York
Education

2007 Columbia University, MFA , Visual Arts, School of the Arts,

New York, New York

2004 University of Texas, BFA, Studio Art, School of Arts,

Austin, Texas

Solo Exhibitions

2009 I’ve got $3,000 in my wallet, On Stellar Rays, New York
Group Projects, Exhibitions + Screenings

2010 KAYA, with Kerstin Bratsch, 179 Canal, New York

Debo Eilers with On Stellar Rays , Art Los Angeles Contemporary

The Amazone Conversation, curated by Manuel Scheiwiller, Raum Zur Kunst, Basel

Hell, No!, curated by Rj Supa & David Fierman Convent Saint Cecilia, Brooklyn

Reconstruction #1, On Stellar Rays, New York

Greater New York 2010, curated by Klaus Biesenbach, Connie Butler, & Neville Wakefield,

MOMA/P.S.1, Queens, NY

2009 The Dark Show Returns As A Ghost, curated by Katie Guggenheim, Paradise Row, London

A minus suitcas, curated by Eva Jung, Brain Factory, Seoul

Exhibition 211, June 5-11, New York

Saloon 3 (Debo Eilers/Jane Jo) Performance & Curated by Georgia Sagri, New York

The Fuzzy Set, screening curated by Pilar Conde, LAXART, Los Angeles

Professor Eilers, Performa 09 – The Third Biennial of New Visual Art Performance

New York

Circular File Channel Episode 2006 (2009), videos organized by Josh Kline and Anicka Yi,

Commissioned by Tairone Bastien / Performa 09

2008 Nothing is exciting. Nothing is sexy. Nothing is embarrassing. Museum of Modern Art Vienna

(Mumok), April 20

The Dark Show, curated by Katie Guggenheim, The Wallis Gallery Warehouse, London

Yes, curated by Tairone Bastien, AR / Contemporary Gallery, Milan

Swapmeet, High Desert Test Sites, organized by Amy Yao, Joshua Tree

2007 Carte Blanche, curated by Ronnie Bass, Elizabeth Dee Gallery, New York

Analogous Logic,curated by Lumi Tan, Temporary Storage, Brooklyn

New Misunderstandings, curated by Roy Stanfield, Moti Hasson Gallery, New York

This Land is Our Land, curated by Ronnie Bass, The Henry Art Gallery, Seattle

Performa 07, Performa TV/ With Ronnie Bass

Pedastool. Wallstreet (With Nic Xedro and Georgia Sagri) New York

Moonch. UBS Corporate Park (with Nic Xedro) New York

Uterpain/Juanpa. 23rd street (with Nic Xedro and Georgia Sagri), New York

2006 Oktuber to Decumber, curated by Roy Stanfield, Moti Hasson Gallery, New York

2005 Nemo Film Festival, Independent Exposure, Paris

2003 CinemaTexas8, UT Student Competition, Austin

Rooftop Fillms, Texas Night curated by Spencer Parsons, Brooklyn

2002 CinemaTexas7, UT Student Competion ,No Budget Award, Austin

Recent Press

John Mollett, Greater New York 2010, Whitewall Daily, June 2010

Linda Yablonsky, Miniskirt, BodySuit, Orffspice MoMA PS1 Extravaganza, Bloomberg, April 2010

Sophie Landers, On Stellar Rays, The Wild, Issue 1(Hero) 2010

Christian Viveros Faune, “PS1’s Greater New York 2010” Is Worse Than The Biennial, Village Voice,

June 2010

Tyler Coburn, Greater New York: Review Part 3, ArtReview.com, June 2010

Chris Evangelista, Big Apple Art: The Greater New York Exhibit Returns To PS1, Encore, June 2010

Best in Mixed Media, Timeout, critics pick “Kaya” Debo Eilers & Kerstin Bratsch

Michael Wilson, Artforum online, January 2009

Tyler Coburn, Reviews Marathon, ArtReview, April 2009

Carolina Busta, New York, Artforum, December 2008

Mat, Issue 3, 2008

Debo Eilers and Das Institut (Kersin Bratsch & Adele Roder), Haircuts and Guitars: Back and Front,

Ouvo, Issue 18, 2008

New Misunderstandings by Marie-Adele Moriot, Artlies, Issue 50, May, 2008

John Kelsey, Artforum, December 2007

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Show Statement

RED WHITE YELLOW is pleased to present new video work by Stephanie Davidson that plays with perceptions of space and time by layering 3D renderings and animations over 2D kaleidoscopic moving imagery.

Stephanie Davidson is a prolific artist working with collages, gifs and video. Incorporating a generous sense of humor but also a great deal of empathy, most of her work can be interpreted as the human being’s existential crisis and their persistence to pursue the pointless. She is also well known for her Tumblr blog, called Rising Tensions, which is a curated space of internet images and gifs. She currently works and lives in Toronto, Canada.

CV

Stephanie Davidson
Toronto
steph at stephd.biz

Education

B.A Honors, Visual Arts/Media Information Technoculture. University of Western Ontario, 2006
Group Shows

2009

Neighbourhood Sacrifice, (April), DeLeon White Gallery, Toronto. Curator: Jesjit Gill
Halo Halo Launch, Urbanspace Gallery, Toronto. Curator: Jeff Garcia

Dream Sequence, Synchronicity, LA. Curator: Katie Vonderheide.

2008
Christmas GIF(t)s, Show Cave Gallery, Los Angeles. Curator: Keenan Marshall Keller.

Nuit Blanche Draw-a-thon, Urbanspace Gallery. Curator: Kelly Marie.

Poster Show III, Whippersnapper Gallery, Toronto Ontario. Curator: J. Ryan Halpenny.

I Maintain My Innocence, 401 Richmond, Toronto Ontario. Curator: Sarah Butterill.

Free Drawings II, Xpace, Toronto Ontario. Curator: Jesjit Gill.

Zombie Surfers, Cell Space, London England. Curator: Milika Muritu.

Chimera Frontiera, Junc Gallery, Los Angeles. Curator: Katie Vonderheide.

Free Drawings, XPace, Toronto Ontario. Curator: Jesjit Gill.

Jolly Rogers, Forest City Gallery, London Ontario. Curator: Derek Liddington.

2007

Luminato, Toronto Ontario. Curator: Anthony Swaneveld.

These Bagels Are Gnarly, Cinders Gallery, Brooklyn, U.S.A. Curator: Rich Jacobs .

MOTU, Magic Pony, Toronto Ontario. Curator: Lola Landekic, Reece Hobbins.

Home and Away, SPACE Gallery, Pittsburgh, U.S.A. Curator: Thad Kellstadt

The Girls Room, Jen Bekman, New York. Curator: Chloe Derderian

2006 Streetspace, mural project on Pearl St., Columbus Ohio. Curator: Edmund Gaisie.

X, ArtLab, University of Western Ontario, London Ontario.

O Billy show, SubV Gallery, Monteral Quebec. Curator: James Kirkpatrick.

Headquarters Galerie, Montreal, Quebec

2006

O Billy Fundraiser, Forest City Gallery, London Ontario.

Skateboard Scraps, ArtLab, University of Western Ontario, London Ontario.

2005

Open Call, ArtLab, University of Western Ontario.

Juried Exhibition, ArtLab, University of Western Ontario.

Solo show, Alex P. Keaton. London, Ontario. Curator: Elsa Rose.

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Show Statement

As a child in rural Oklahoma, life consisted of very little in the form of cultural stimulus. Outside of the hallways of high-school, church and music offered opposite paths towards a cultural identity. Re-defining oneself took invention and appropriation. This resulting identity, and the intersection of religious repentance and youth rebellion, has become a central tenant in Ryan’s work.

A kind of anthropology of 1990s rural youth and drug culture has emerged, composed of the most basic, diluted aspects of the 60s and 70s, along with an innocent understanding of suburban “fringe” cultures. Being pre-internet, the malls, bookstores, and head shops of nearby suburbs became the only way to mine for information. This research produced an array of visual signifiers, which themselves defined the artist’s own teenage angst and created a steadily evolving material identity.

For this exhibition, Ryan continues his self reflective archaeological vision quest through video, digital prints, and sculptures of relics and artifacts of his “sacred” juvenilia. With the current economic and political state looking progressively bleak, sorting through his naive past helps to understand and make sense of what may come to be.

CV

RYAN LAUDERDALE

B. 1979 STILLWATER, OK
LIVES AND WORKS IN AUSTIN, TX

Education
2005 BFA Studio Art – BA Art History, University of Texas at Austin

Selected Exhibitions
2009 No Lone Zone, Creative Research Lab, Austin, TX
Ryan Lauderdale: Project Space, Okay Mountain, Austin, TX
We Like the Good, Live with Animals, Brooklyn, NY
DIY: Double Wide, Texas Biennial, Women & Their Work, Austin, TX
2008 Texpose, Paragraph Gallery, Kansas City, MO
Harvest, MASS Gallery, Austin, TX
Greetings from Berrydale, Okay Mountain, Austin, TX (with Michael Berryhill)
The Nature Show, LMNL, Austin, TX
2007 Come on Feel the Whatever, Concordia University, Austin, TX
Surprise Me, Gallery Lombardi, Austin, TX
Endwise, Current Space, Baltimore, MD
Blue Screen: Wow man, Take me away, Fuse Box, Austin, TX
Digital Showcase 41, AMODA, Austin, TX
Never Meaning No Harm, MadArt, St. Louis, MO (with Eric Gibbons)
2005 Terra Cognita Cinematexas 10, AMLI, Austin, TX
Senior Studio Exhibition (juried), Creative Research Laboratory, Austin, TX
BIZ SKOOL, Video installation – McCombs Business School, University of Texas, Austin, TX

Bibliography
Faires, Robert. The Austin Chronicle. 10 April, 2009.
Duncan, Michael. Texas Biennial 2009 (Exh. Catalog). 2009.
Schulman, Blair. …might be good (issue #112). 12 December, 2008.
Geha, Katie. …might be good (issue #94). 7 March, 2008.
Douberley, Amanda. The Austin Chronicle. 22 February, 2008.
Scherer, Kate. Cinematexas 10 (Exh. Catalog). 2005.

The gallery is open during openings and closings at Box13, and by appointment.

If you have questions, or need to make an appointment, please contact Jenny Schlief at:

jenny@redwhiteyellow.com
or by phone at (832)429-7996



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Show Statement:

Dylan Reece’s current exhibition, “Luminous Visions” will feature a video projection and 2D work related to the video through stills, collage and digital prints.

Dylan will be showing a video work called “Luminous Livingston Seagull.” It is a mash-up of the 1973 film, based of the book, Jonathan Livingston Seagull, and a 1998 computer generated psychedelic video called Luminous Visions. The two films are superimposed and allowed to run without any additional editing or manipulation. Through this one simple device, many surprising alignments and potentially meaningful synchronicities unfold, calling into question the role of chance as a neutral artistic device and highlighting the absurdities inherent to both films.

About Dylan Reece

Dylan Reece was born in in Garland, Texas in 1982. He received a B.F.A. in Design from the University of Texas at Austin in 2005. He has recently exhibited work at MASS Gallery, UT Dallas CentralTrak, Okay Mountain Project Space, The Creative Research Laboratory, LMNL Gallery, The Austin Museum of Digital Art, and the Helen Day Art Center in Vermont.

Dylan’s Artist Statement

Dylan Reece’s work employs a variety of media — prints, photography, painting, animated GIFs, and sculpture — to juxtapose appropriated imagery that alludes to a historical questioning of progressive cultural periods. Drawing from a range of sources, including the pop-metaphysics of the ’70s, the classical art of Greece and Rome, the internet, vintage nature books, rave culture, and Modernism in art, the imagery for much of the work is informed by the ambitions and failures of once progressive cultural movements and an underlying sense of social progress gone awry. In a world characterized by ever increasing flows of information and rapid change in complexity of social systems and cultural dynamics, his work looks to past failures to find strategies on how the same outcomes might be thwarted in the digital age.