Scott Lyall is a Canadian-born artist\, whose practice constructs intricate dispositifs\, in which variou s epistemological models and concrete material processes find themselves in unfamiliar proximity\, producing surprising aesthetic and theoretical effe cts. His print-works\, graphic images\, and sculptural installations have b een exhibited regularly in North America and Europe. Over the past year\, h e has exhibited at Campoli Presti (London)\, Kosterfelde (Berlin)\, Sutton Lane (Paris)\, Miguel Abreu (New York)\, Greene Naftali (New York)\, Silve r Flag (Montreal) and the 7th Montreal Biennial. Other recent shows include The Power Plant (Toronto)\, Lucky Seven\, the 7th SITE Santa Fe Biennial\, Schnitte im Raum\, (in collaboration with Rachel Harrison) at the Morsbroi ch\, (Leverkusen\, Germany) and Collatèral at the Confort Moderne (Poitiers \, France). In addition\, he continues to collaborate with New York-based c horeographer Maria Hassabi\, acting as dramaturge.
As part of the Dis tinguished Visiting Artist Program at UBC’s Department of Art History\, Vis ual Art and Theory\, Lyall plans to discuss his recent use of digital print ing and the color effects he has grouped under the general title nudes. Suggesting a non-painting that has survived the abstract ‘work’\, Lyall’s nudes seem to exemplify an equal formal resistance to both the economies of the present and the net of image-signs. “We are l ooking at anti-Rothko”\, as Aude Launay has written. Color is less an image than a tangled occupation for thought.
“In fact\, I do conceive of t he contemporary as plastic: little shifts affecting points in the material of history so that the latter\, at any moment\, becomes a story yet to be t old. If an art work first appears as uncertain to its audience\, it first appears as uncertain to those who make it up\, as well. Let me say\, then: when I first began making the things in question\, I had little sense of a nything I was trying to represent. But there was something in the simple g raphic reduction I was using that gave a sense of inconsistency where I exp ected to see a ground. This something became the motif\, but it was hardly a firm object. I noticed and was attracted to a zone along the surface\, v ery slight\, but where you couldn’t exactly perceive the surface image\, or couldn’t distinguish whether the image was ‘inside’ or on top. Up close\, there was a surface\, because the material facts were obvious\; from a dist ance\, there was obviously an object of design. But always\, in the relati on of the body-before-the-image\, there was an atmospheric haze that seemed to erase the surface itself. If I resolved to speak of ‘motif’ it wasn’t because I’d found an object\; it was more that the hazy atmosphere became a n issue for my design. And it wasn’t that I was seeing a spurious distance or an abîme. My process is the development of a speculative (non-) identi ty\; the motif itself is staged for a transitive distribution in thought.”< /p>
(Interview\, January\, 2012\, forthcoming 2012)
http://moussemagazine.it/scott-lyall-at-sutton-lane-paris/
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http://www.artslant.com/global/artists/show/24028-sc ott-lyall?tab=REVIEWS
LOCATION:Frederic Lasserre\, Room 102 GEO:49.267665;-123.255830 URL;VALUE=URI:https://ahva.ubc.ca/events/event/total-disclosure-an-artists- talk-by-scott-lyall/ ATTACH;FMTTYPE=image/jpeg:https://ahva.cms.arts.ubc.ca/wp-content/uploads/sites/37/2021/05/1067.jpg END:VEVENT BEGIN:VTIMEZONE TZID:America/Vancouver BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 DTSTART:20111106T090000 TZNAME:PST END:STANDARD END:VTIMEZONE END:VCALENDAR