No Shadows in Hell is the name of a group exhibition currently underway at Pilar Corrias, and it seems clear from the outset that this show is not referring to the traditional vision of the dark yet fiery den of torment written of in Dante’s Inferno or popularised in religious paintings.
Installation view No Shadows In Hell,
Courtesy of Pilar Corrias Gallery, London.
Photo: Damian Griffiths.
This is the hell of novelist JG Ballard — specifically that as described in his 2000 book Super-Cannes. In the world imagined by the British author, society operates at a level of hyper-productivity in the constant glare of light, which drives the corporate environment to ever-higher levels of output but has the unfortunate side-effect of turning people into barely-functioning powder kegs of stress.
A psychiatrist based in the Eden-Olympia business park above Cannes — an enclave for the ruling elite — encourages the stressed-out workers to indulge in underground sexual depravity and violence, bringing about a sort of therapeutic psychopathy as a way to vent some of the pressure.
Olivia Erlanger; Josh Kline; Jason Matthew Lee; Sam Lewitt; Carissa Rodriguez present new and recent works that explore physical and psychological disturbance and stimulation, social and work relations, and overproduction in a post-material world. Clock in for a shift at the London gallery before 4 September.
Installation view No Shadows In Hell,
Pilar Corrias Gallery, London, 16 July – 4 September 2015.
Courtesy of Pilar Corrias Gallery, London. Photo: Damian Griffiths.
Josh Kline, Sometimes Hemoglobin Needs a Helping Hand, 2015.
Pig’s Blood doped with Adderall, cast-urethane, refrigeration elements,
lightbox pedestal (fluorescent lights, wood, plexi), 120.65 x 36.2 x 29.21 cm.
Courtesy of the artist, 47 Canal, New York and Pilar Corrias Gallery, London.
Photo: Damian Griffiths.
Jason Matthew Lee, bruteforcephreak: gwtdt, 2015.
Phone box, 137 x 19 x 17 cm.
Courtesy of the artist and Pilar Corrias Gallery, London.
Photo: Damian Griffiths.
Josh Kline, Forever 48, 2013.
HD video, colour, sound, 16’06”.
Courtesy of the artist, 47 Canal, New York and Pilar Corrias Gallery, London.
Photo: Damian Griffiths.
Sam Lewitt, Global Positioning Harness 2014
(Grey Parrot Lineament), 2015.
Etching on copper-clad plastic, Asphaltum,
steel brackets, 167.6 x 111.8 x 17.8 cm.
Courtesy the artist, Miguel Abreu Gallery, New York and Pilar Corrias Gallery, London.
Photo: Damian Griffiths.
Olivia Erlanger, Floating Strike Loopback Option, 2015.
Aluminum, silicon, resin, 3D prints, pumice, ceramic dust,
aligator feet, piano keys, plexi, 90 x 170 x 114 cm.
Courtesy of the artist and Pilar Corrias Gallery, London.
Photo: Damian Griffiths.
Installation view No Shadows In Hell,
Pilar Corrias Gallery, London, 16 July – 4 September 2015.
Courtesy of Pilar Corrias Gallery, London. Photo: Damian Griffiths.
