Alex Imagining His Own Body, 2008. Looped Video, mixed media, 14 x 27 x 13 inches.
Paraphrasing the press release: Paul Gabrielli is a New York based sculptor whose work incorporates a multiplicity of media. “Infused with a thwarted eroticism of both desire and restraint” his work, beyond Assemblage, elegantly collaborates between light, form, and reflection to summarize “with lyricism and paradox the physical manifestation of a single thought”.
Invisible-Exports are a fledgling gallery in New York’s Lower East Side “dedicated to superior conceptual work” for whom Gabrielli’s Closer Than That will be their third exhibition. Their prior two exhibitions, It’s Not Over Yet—the inaugural group show comprising of works from William S. Burroughs and Genesis Breyer P-Orridge among others—and You People—their first solo show comprising of photographs of books by Mickey Smith—garnered much attention for a young gallery.
We interviewed Invisible-Exports (IE) owners Benjamin Tischer and Risa Needleman to try to get a sense of what direction the gallery was heading in and how Paul Gabrielli fits the bill:
Your inaugural exhibition, It’s Not Over Yet, was very well marketed and your first solo exhibition had a strong theme that was easy to connect with. Assuming that you are now beginning to cut a groove, what did you set out to achieve with the galleries second solo show?
Benjamin Tisher: Our first show was a Bacchanale, a celebration that had more to do with our philosophy and approach than our actual program. Mickey Smith started our program proper with her photographs of bound periodicals in public libraries. It’s conceptual work, with almost infinite applications. With this show, we wanted to continue illustrating the path we hope to move in– “Smart art.”
Untitled (Malady) 1, 2007. Wood, digital prints on Mohawk velum, wax, wood stain, xerox transfer, 21 x 19 x 18 inches.
Why was Paul Gabrielli perfect for this?
BT: His work is deceptive. At first glance, it appears to be readymade. Constructions of found objects. This is not the case. Paul constructs visions of idealized objects. They are painstakingly fabricated, and all seem to imply some sort of elusive narrative. They make you want more, which is a fantastic quality. And they’re sexy.
Risa Needleman: We want to promote artists who have strong and smart conceptual projects but whose work is also visually interesting. Mickey Smith is a perfect example of this. Her photographs are lush, gorgeous, sometimes heartbreaking, and are very relatable. At the same time, the project is conceptually strong. Paul Gabrielli fits perfectly into our concept for the gallery because his work is visually moving with a strong conceptual foundation. For such a young artist, Paul has incredibly well-formed ideas, an amazing eye, and is an adept self-editor. He is extremely cerebral; all of his decisions are heart-wrenching push-and-pulls. I like that about him.
Lantern, 2008. Aluminum ladder, flash-light, plaster, wood, aluminum, enamel, oil paint, wax, rubber, 30.5 x 20 x 16.5 inches.
Who curated the show?
RN: Paul comes to us with work he’d like to have in the show, then it’s discussed between the three of us, and then Paul sets up the show in the space. Ben and I give feedback when asked, but the show is Paul’s. He’s the genius.
BT: The work was ultimately selected by Paul. IE is more about presenting an artist’s vision than presenting our vision of an artist. We should give a shout out to Lisa Kirk, however. Though ultimately an artist (and our next show), Lisa has an acute curatorial eye. Her Bonds of Love and You! exhibitions were both acclaimed, and she was the one who first spotted Paul’s work in a group show and urged us to look at what he was making.
Untitled (End Clap), 2008. Wood, steel, chalk, aluminum, oil paint, 19 x 25.5 x 7.5 inches.
Your gallery states its purpose as promoting the talents of individual artists dealing in tangible and intangible components; and many of the galleries artists, like Paul Gabrielli, are multi media based artists. Are you drawn to these types of artists as a gallery?
RN: We are drawn to artists who are multi-dimensional. Art is something that should encapsulate all sorts of ideas and media. It should be forward-looking but also representative of our times.
BT: We are not medium-centric. Again, we are more interested in the ideas and personalities behind the work.
Will this show, its work or intent compliment the group exhibition curated by Mary Heillman at 303 Gallery opening today in which Paul Gabrielli will show in? If so how?
BT: Paul is actually one of Mary’s assistants. He will be showing his newest video DARK MOVIE in the exhibition, which also is showing at our gallery. It was just one of those fortunate accidents of timing. We scheduled the show then Mary asked if he would be in the group show and it just worked out. That said; Mary is incredible. We have only just met her, but already think she’s the most kickass lady ever [.]
Installing the show.
IE stands out on New York’s Lower East Side as a really promising gallery. Too young to have been spoiled by success and just young enough to have retained much of its magic, this seemingly gifted new gallery has so far been consistently on point. And unlike many galleries in the wider world whose relationships with Miami are based upon fleeting appearances at fairs, IE, who exhibited at SCOPE MIAMI last December, have made a important gesture by scheduling an all Miami group show for the spring. Entitled Miami Noir the exhibition will fall somewhere between April and May and will feature a host of as yet undisclosed Miami artists, many of whom received confirmation just yesterday. Drawing inspiration from the dark underbelly of South Florida’s recent past, Miami Noir will hopefully present both the area’s optimistic future and checkered history and, owing to the exhibitions location, an undeniably great opportunity for the artists involved. Watch this space!
Paul Gabrielli was a 2008 Rema Hort Mann Foundation Nominee and is part of the permanent collection of the Cartier Foundation, Paris. His work has been exhibited at institutions and galleries including the Cartier Foundation, Paris; BOMB Magazine; and The Studio Gallery, among others. His work can also be seen in a group show curated by Mary Heillman at 303 Gallery opening now.
INVISIBLE-EXPORTS is a gallery dedicated to superior conceptual work. IE is located in the Lower East Side, at 14A Orchard Street, just north of Canal. The hours are Wednesday through Sunday, 11-7pm, and by appointment. For more information please visit: www.invisible-exports.com