Kim Schoen, Becket MWN, José Montealegre & James Krone

GREEN LOBBY

Project Info

  • ūüíô Louche Ops
  • ūüĖ§ Kim Schoen, Becket MWN, Jos√© Montealegre & James Krone
  • ūüíú James Krone
  • ūüíõ Nick Ash

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Install
Install
Install
Install
Becket MWN: Trellis, 2022 and Tuner, 2023
Becket MWN: Trellis, 2022 and Tuner, 2023
Becket MWN: Trellis (detail), 2022. Steel table, waste bin, phone, altered PDF, plastic, acrylic paint. 100cm x 159cm x 60cm
Becket MWN: Trellis (detail), 2022. Steel table, waste bin, phone, altered PDF, plastic, acrylic paint. 100cm x 159cm x 60cm
Becket MWN: Tuner (detail), 2023. Buckets, plastic, mp3 player, speaker, acrylic paint. dimensions variable
Becket MWN: Tuner (detail), 2023. Buckets, plastic, mp3 player, speaker, acrylic paint. dimensions variable
Kim Schoen: Negative Bouquet (yellow), 2023. Giclee print on 12 mm silk satin 71 x 41 cm
Kim Schoen: Negative Bouquet (yellow), 2023. Giclee print on 12 mm silk satin 71 x 41 cm
Install
Install
José Montealegre: Página 0057 (What used to be, and still in a way is, M. Reus (Palo de Máscaras)), 2019-2023. Metal, air-dry clay, laser cut canvas, steel base, tiles. 175 x 105 x 85 cm (approximate dimensions, vary slightly)
José Montealegre: Página 0057 (What used to be, and still in a way is, M. Reus (Palo de Máscaras)), 2019-2023. Metal, air-dry clay, laser cut canvas, steel base, tiles. 175 x 105 x 85 cm (approximate dimensions, vary slightly)
James Krone: New Plant 1 (recto 1 & 2), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
James Krone: New Plant 1 (recto 1 & 2), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
James Krone: New Plant 1 (recto 1), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
James Krone: New Plant 1 (recto 1), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
James Krone: New Plant 1 (2), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
James Krone: New Plant 1 (2), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
Install
Install
Kim Schoen: Negative Bouquet (silver), 2023. Giclee print on 12 mm silk satin, 86 x 58 cm
Kim Schoen: Negative Bouquet (silver), 2023. Giclee print on 12 mm silk satin, 86 x 58 cm
James Krone: New Plant 1 (verso & recto), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
James Krone: New Plant 1 (verso & recto), 2023. Inkjet print and graphite on polypropylene, plexiglass, chroma key paint, chrome, screw caps & misc hardware. 35 x 50 cm
Louche Ops is pleased to present Green Lobby, our gallery's third exhibition. While the purposes and qualities belonging to artificial plants vary depending on which historical context one is considering, their modern use typically places them in peripheral spaces, like docile apologies for the abrasive vacuity of corporate architecture. The presence of a plastic plant implies that an actual one would die if put in its place, due either to inhospitable conditions or neglect. As if projecting their own lifelessness, this form of decor lends to the general effect of waiting rooms, lobbies, and malls, the feeling of an unconvincing theatrical set. Perhaps this ambient novocaine is intended to prepare us for the types of depersonalized experiences we could expect to have in such places. The title of Philip K Dick's novel UBIK refers to the brand name of a fictional aerosol product (short for ubiquity) capable of producing various trompe l'oeil surfaces depicting whichever effects of futurity or nostalgia might be desired, when sprayed upon the scaffolding of a deteriorating urban infrastructure. It's a vision from fifty years ago picturing the time we live in now as a panorama of unrelated desires plastered over one another, vying to distract from the vacancy of its support. Relieved from their utility as corporate set design, artificial plants have also been released from the task of verisimilitude. In retirement, they've become more reflective as signs, possessing an embedded index of what it is to have been used as a foil. Some still collect dust in hotel lobbies or doctors' offices like props left behind, seemingly to preserve a 20th century effect. Removing them could imply that the infrastructure they once served has quietly evolved and that they've been replaced by an all encompassing rebar of vegetative plasticity. ‚Äč
James Krone

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