Andy Hope 1930
Andy Hope 1930's exhibitions include: Black Fat Fury Road, Galerie Guido W. Baudach, Berlin (2016); UNappropriated Activities, Hauser & Wirth, Zurich (2015); Fruits de la Passion, Centre Pompidou, Paris. (2012/13); When Dinosaurs Become Modernists, Inverleith House, Royal Botanic Garden Edinburgh (2012); Andy Hope 1930 at the Freud, Freud Museum, London (2010); Andy Hope 1930, Sammlung Goetz, Munich. (2010); and Welt ohne Ende, Lenbachhaus, Munich (2005). #andyhope #andyhope1930 #gabrielesenn #gabrielesenngalerie #schleifmühlgasse @gabrielesenngalerie
Address: Schleifmühlgasse 1A, 1040 Vienna, Austria
Date: 13.5.2016 "“ 18.6.2016
Ticket: free
Web: http://galeriesenn.at
: https://www.facebook.com/GABRIELE-SENN-GALERIE-140732552686627/
: https://www.instagram.com/gabrielesenngalerie/
Date: 13.5.2016 "“ 18.6.2016
Ticket: free
Web: http://galeriesenn.at
: https://www.facebook.com/GABRIELE-SENN-GALERIE-140732552686627/
: https://www.instagram.com/gabrielesenngalerie/
ANDY HOPE 1930
ENJOY THANK YOU
13.5.2016 "“ 18.6.2016
... Hope 1930's project is convened in thematic swathes or assemblages, each offering a different front onto the coefficients of history, power, and popular culture, which he connects in a dramatic series of aesthetic dissimulations. Hope 1930 dispatches a brigade of waywardly industrious surrogates"”including dinosaurs, superheroes, monsters, phantoms, and versions of himself"”to wage war on the combined armies of history, selfhood, and mythology.
These he reformats in parallel but unpredictably overlapping universes of misbegotten trauma and savagely insouciant possibility. As befits his grandiose vision, Hope 1930 ... begins in a sense before the advent of human history itself: in the era of the dinosaurs. But his mission has other points of commencement, including his own self-production as a "name."
Signing himself with an Anglicized version of his German name, Andreas Hofer, and dating his productions to some eighty years in the past, the artist breaks through the barriers of existential"”and nominal"”confinement in order to engage with history by merging with it. Hope 1930 drags the past into confrontation with the future through a firmament of disguises, so that when we glimpse its reemergence, here and there, history as we think we know it has been retrofitted as a singular kind of oblivion"”though tinged, of course, by hope.
John C. Welchman, Past Realization: Essays on Contemporary European Art XX"“XXI, Vol. I, Sternberg Press, Berlin 2016, p. 23"“24 (Introduction)
ENJOY THANK YOU
13.5.2016 "“ 18.6.2016
... Hope 1930's project is convened in thematic swathes or assemblages, each offering a different front onto the coefficients of history, power, and popular culture, which he connects in a dramatic series of aesthetic dissimulations. Hope 1930 dispatches a brigade of waywardly industrious surrogates"”including dinosaurs, superheroes, monsters, phantoms, and versions of himself"”to wage war on the combined armies of history, selfhood, and mythology.
These he reformats in parallel but unpredictably overlapping universes of misbegotten trauma and savagely insouciant possibility. As befits his grandiose vision, Hope 1930 ... begins in a sense before the advent of human history itself: in the era of the dinosaurs. But his mission has other points of commencement, including his own self-production as a "name."
Signing himself with an Anglicized version of his German name, Andreas Hofer, and dating his productions to some eighty years in the past, the artist breaks through the barriers of existential"”and nominal"”confinement in order to engage with history by merging with it. Hope 1930 drags the past into confrontation with the future through a firmament of disguises, so that when we glimpse its reemergence, here and there, history as we think we know it has been retrofitted as a singular kind of oblivion"”though tinged, of course, by hope.
John C. Welchman, Past Realization: Essays on Contemporary European Art XX"“XXI, Vol. I, Sternberg Press, Berlin 2016, p. 23"“24 (Introduction)