Israel Lund will have 2 shows in Brussels this summer 2013

Israel Lund - Daniel Buren

New paintings by Israel Lund – Daniel Buren

Now Lund inserts a new layer: a surprisingly clear reference to Daniel Buren’s signature work. Indeed, the image comes from an actual Buren piece photographed in a gallery, then stripped to its most essential. Yet, it bears the trace of the blunt tool that took the sample: one of the stripe is now altered by the flash on the iPhone.

And a quick interview: By Jessica Carroll

It’s a perspective to consider contemporary communication practice as centring around the “back and forth” — the way that the things we share while sitting on our computers all day are reciprocally served up, quantified, affirmed, or aggressively shut down.

The screen printed pieces of New York’s Israel Lund speak easily to this communicative notion. His method of creating works by screen-printing images of photocopied images of photocopied images of photocopied images of photocopied images represents not just a conceptualist idea of repetition and subconscious creation but also points to the annals of unconscious clicking, typing, pulling, rolling, scrolling and the ultimate experimentation necessary to find out what you care about in what other people care about. While his work is beautiful and well-installed, its imprint is aesthetically impermeable.

Its conception sits right there with you, on your Tumblr dashboard, chair pulled up so you’re touching knees, quickly scrolling past that selfie because you thought you saw a tit and you’re scared the librarian might throw you out.

Elaine Levy

Middlemarch

Read more about Israel Lund  >>>

Israel Lund questionaire

Art Agenda – Text – Israel Lund

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acrylic on raw canvas- 8.5x11-3lund 2Israel LUnd

Israel Lund 2013

Israel Lund

Israel Lund’s work was until now based on a cycle of successive reproductions of his own pictural material, processed through actual silkscreen as well as iPhone capture applications. Painting is thus thought as an analogy of the Larsen effect: the material is self-generated in a grey zone where the difference between control and accident become confused.

Now Lund inserts a new layer: a surprisingly clear reference to Daniel Buren’s signature work. Indeed, the image comes from an actual Buren piece photographed in a gallery, then stripped to its most essential. Yet, it bears the trace of the blunt tool that took the sample: one of the stripe is now altered by the flash on the iPhone.

Until now, the reflexive aspect of Lund’s work was induced by concrete techniques and material gestures; the overt quotation opens a new conceptual field. Referring to the eptiome of impersonal art in Buren’s work, the self-claimed “painting degree zero,” the famous regular stripes, is obvioulsy on purpose. Former works were denying images as a mean of representation, they were not linked to an external object; yet they were referring to all the other variations of the same series, without hierachy, as a post-tonal melody. Now, the interactions are not only horizontal, but also vertical, since another layer is played at the same time, subject to very similar yet very different rules, present and absent, material and conceptual, referential and tautological, thus producing a disonant harmony.

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  1. Pingback: Israel Lund in Copenhagen | Contemporary Art, Galleries and Interviews

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