{"id":2795,"date":"2014-01-07T22:21:49","date_gmt":"2014-01-07T22:21:49","guid":{"rendered":"https:\/\/raulmourao.com\/blog\/?p=2795"},"modified":"2014-01-07T22:21:49","modified_gmt":"2014-01-07T22:21:49","slug":"g-t-pellizzi-financial-times-mary-boone-gallery","status":"publish","type":"post","link":"https:\/\/www.archive.raulmourao.com\/blog\/?p=2795","title":{"rendered":"G.T. Pellizzi – Financial Times @ Mary Boone Gallery"},"content":{"rendered":"

\"g_t_pellizzi\"<\/a><\/p>\n

\u201clife can only be understood backwards; but it must be lived forwards.\u201d<\/p>\n

-Soren Kierkegaard<\/p>\n

 <\/p>\n

\u201cA philosophy that does not include the possibility of soothsaying from coffee grounds is\u00a0not a true philosophy.\u201d<\/p>\n

-Walter Benjamin<\/p>\n

 <\/p>\n

On 9 January 2014, Mary Boone Gallery will open at its Fifth Avenue location an\u00a0exhibition of new works by G.T. PELLIZZI.<\/p>\n

G.T. Pellizzi\u2019s new series of works is inspired by graphs sourced from financial\u00a0publications as well as hexagrams from the I Ching. Both are images of analytic tools\u00a0used for purposes of divination. They are tied to people\u2019s desire to predict possible\u00a0futures in order to achieve the most positive outcomes. Formally, the works look like\u00a0a collection of virtual graphs and diagrams translated into some of the vocabulary of\u00a0minimalism and abstraction in the history of Contemporary Art.<\/p>\n

Graphs are the building blocks of financial plans, urban plans, construction plans, and\u00a0socio-political plans. They are used by politicians to advocate one position or another,\u00a0and by investment bankers to determine transactions, but our subjective condition\u00a0makes it impossible to read them impartially. The fact that we cannot read them\u00a0impartially is also why we can read stories into them at all. Similarly, the I Ching must\u00a0be read through a subjective context in order for the reader to be able to interpret the\u00a0conduit of its composite modular signs.\u00a0\u201csnap lines\u201d, a chalked string used in building trades to make a straight line on a vertical\u00a0surface, feature prominently in this body of work. When used in construction, snap\u00a0lines function as a mark and an organizing principle that ultimately dissolves behind\u00a0the final image or structure. They are the catalytic gesture marking the beginning of\u00a0a construction, the translation of an abstract plan, when it only exists as a mark or a\u00a0drawing, into a physical space. Their presence in these works can be read as intimations\u00a0of possible future developments, by design and by chance.<\/p>\n

IANDOMENICO TONATIUH PELLIZZI<\/p>\n

G.T. Pellizzi was born in 1978 in Tlayacapan, Mexico. He studied philosophy at St. Johns\u00a0College and graduated from The Channin School of Architecture at the Cooper Union.\u00a0From 2001-2011, Pellizzi co-founded and has been involved in various art collectives,\u00a0including The Bruce High Quality Foundation, with whom he has exhibited at the\u00a0Whitney Museum of Art, PS1 MoMA, Centre Pompidou, PAC Murcia, and the Fondazione\u00a0Sandretto Re Rebaudengo and various art galleries in New York, Zurich, Berlin and\u00a0London. In the past year he has participated in exhibitions at the Jeu de Paume in Paris,\u00a0the Museo del Barrio in New York, the Biennial of the Americas in Denver, and at L&M\u00a0Gallery in Los Angeles. Pellizzi lives between New York and Mexico.<\/p>\n

The exhibition, at 745 Fifth Avenue, will run through 1 March 2014.<\/p>\n

For additional information, please contact Ron Warren at the Gallery,\u00a0or visit our website www.maryboonegallery.com.<\/p>\n