John Armleder Ripple David Kordansky Gallery
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[邮箱已省略] [网址已省略] Los Angeles: 323.935.3030 New Y ork: 212.390.0079 May 7 – June 13, 2026 David Kordansky Gallery, New Y ork John Armleder Ripple: Furniture Sculpture and Painting after 1982
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mirrors. Furniture used throughout the exhibition, and in the series at large, is often found or sourced by Armleder and accompanies a paint- ing the artist has made. The impetus to create the sculptures on view came from an early engagement in experimental compositions like Erik Satie’s furniture music, from which Armleder’s series takes its name, and a formative interaction with John Cage around the release of his essays, Silence: Lectures and Writing , which speak to the importance of chance in creative practices. Paintings like Untitled, U17 (1986), typify Armleder’s Pour Paintings, a series that dates back to the 1970s in which the artist pours, drips, and manipulates paint and other media onto an upright canvas so that the material pools and layers to create textured stria - tions, ridges, and grooves along the surface. Paintings in this series can be read as distinctly modernist, foregrounding color, line, material, and process over a planned compositional outcome. Like Cage, Armleder relies on chance in the creation of these paintings. Satie created his furniture compositions so the sound existed in the background and could be experienced as secondary to a conversa - tion, a drink, or any other exchange. In Untitled (FS) (1987) and Untitled (1986–2020), Armleder flanks a wall-based painting with two musical instruments which, while the instruments take center stage, recall the impermanence of compositions like Satie’s as there’s a sense that the instrument could easily be plucked from the wall, a cymbal could be readjusted, or furniture could otherwise be swapped out. Armleder’s choice to leave many of his paintings and sculptures unti- tled asserts his belief in the Duchampian idea that it is the viewer who assigns meaning and value to art, not the artist. So, even when direct visual relationships can be made between decoration, interior design, conceptual art, performance, and installation—and even if the refer - ences that Armleder pulls from are so intertwined with his own lived experience and life-long engagement with art—citing one source of inspiration would not only limit the viewer, but be an inaccurate repre- sentation of what the work is. The Furniture Sculptures have to do with decor in a way, but the associations extend far beyond that to move - ments as far-ranging as Dada, Russian constructivism, Fluxus, and Pop Art. And while his work can be categorized as conceptual, it is also deeply rooted in the social aspects, implications, and impact of art. The term postwar is often used as a designation for artists of Armleder’s generation, however with him it seems that it takes on a different mean- ing. It’s through his own personal and societal awareness of all that unfolded in the postwar period, and the effects that continue to rever- berate—or ripple—today, that his work is created. While some artists use conceptual art as a tool to dilute political or radical thought, Armleder foregrounds it. In each of his past exhibitions the installation and, to a certain extent, the onlooker become a part of the work itself, as if to remind the viewer that art relies first on human engagement and that everything is created and understood within the larger context and rela- tional framework of society. Armleder has been the subject of numerous solo exhibitions around the world. Over the last decade alone, he has presented solo exhi - bitions at Musée d’Art et d’Histoire, Geneva, Switzerland (2026); Kunsthaus Biel Centre d’art Bienne (KBCB), Biel/Bienne, Switzerland (2026); Musée D’art Moderne et Contmeporarian (MAMCO), Geneva, Switzerland (2026); Musée Régional d’Art Contemporain (MRAC), Sérignan, France (2023); Rockbund Art Museum, Shanghai, China
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[Installation View] John Armleder Ripple: Furniture Sculpture and Painting after 1982 David Kordansky Gallery, New Y ork May 7 – June 13, 2026
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[Installation View] John Armleder Ripple: Furniture Sculpture and Painting after 1982 David Kordansky Gallery, New Y ork May 7 – June 13, 2026
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[Installation View] John Armleder Ripple: Furniture Sculpture and Painting after 1982 David Kordansky Gallery, New Y ork May 7 – June 13, 2026
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[Installation View] John Armleder Ripple: Furniture Sculpture and Painting after 1982 David Kordansky Gallery, New Y ork May 7 – June 13, 2026
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John Armleder In the Raw, 2026 guitars and acrylic on canvas overall: 98 1/2 x 125 x 6 1/2 inches (250.2 x 317.5 x 16.5 cm) [金额已省略]
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John Armleder Furniture Sculpture #201 with Kent Senator, 1988 surfboards and acrylic on canvas overall: 86 x 380 1/2 x 6 1/2 inches (218.4 x 966.5 x 16.5 cm) [金额已省略]
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John Armleder Untitled (FS 203), 1988 truck spoiler and acrylic on canvas overall: 120 x 68 1/2 x 14 3/4 inches (304.8 x 174 x 37.5 cm) [金额已省略]
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John Armleder Furniture Sculpture No.30, 1982 acrylic on carpet 140 x 27 1/2 x 3/8 inches (355.6 x 69.8 x 1 cm) [金额已省略]
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John Armleder Untitled (FS), 1986 wood and acrylic on canvas overall: 61 3/8 x 49 1/2 x 4 1/2 inches (155.9 x 125.7 x 11.4 cm) [金额已省略]
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Current + Upcoming Exhibitions and Fairs New Y ork John Armleder Ripple: Furniture Sculpture and Painting after 1982 May 7 – June 13, 2026 An American Beauty: Grateful Dead 1965–1995 curated by Jay Blakesberg and Ricki Blakesberg June 23 – August 7, 2026 Fairs Independent May 14 – 17, 2026 Art Basel June 16 – 21, 2026 Los Angeles Evan Holloway ROYGBIV May 16 – June 20, 2026 Hilary Pecis Love Letters May 16 – June 20, 2026 T om’s Stretch July 10 – August 22, 2026 Moka Lee July 10 – August 22, 2026 [邮箱已省略] [网址已省略] Los Angeles: 323.935.3030 New Y ork: 212.390.0079