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