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Lindsay Lawson Attorney at Lawby Lindsay Lawson
Opening: Saturday, 28 September 2024, 5 pm - 9 pm.
Exhibition Period:
29 September - 27 October 2023
Thursdays – Sundays, 12 – 4 pm (free of charge)
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The exhibition of artistic works on display from September 28, 2024 at Platform Stockholm titled "Lindsay Lawson Attorney at Law" does not imply that the artist, Lindsay Claire Lawson, makes any legal claim to having the status of a lawyer or any another other legal representative or council. Lindsay Claire Lawson, hereafter referred to as “the artist” or “Lindsay Lawson” or “Lawson” has assembled a collection of artworks, also referred to as “works” or “sculptures,” for public display that she is the sole author of, in so much as any “artist” or person who produces creative output for the public consumption can claim authorship with reference to external influences, sources, and precedents, whether known or unknown, being impossible to definitively distinguish as completely unrelated or interdependent.
These artworks created, arranged, and contextualized by the artist in the space of Platform Stockholm are intended to make an intentionally incohesive statement about a subject that is only tangentially referred to, primarily by the titles of the artworks. While being three-dimensional sculptures, these artworks suggest that the presumed viewer, should there be one, in the exhibition “Lindsay Lawson Attorney at Law” can consider texts (in the form of leaked emails) that are not present in the works because 1) the referenced emails are not present physically, but only as a negative space carved out of a sculptural object 2) the referenced emails are only incorporated as text fragments in the form of incomplete sentences, missing text content, and partial metadata 3) the referenced emails became notable to the general public for what they do not contain, namely any incriminating information about the senders or receivers. Additional sculptural works include images in the form of stone mosaics with patterns based on media outlet logos, which are used in accordance to the Act (1960:729) copyright to literary and artistic works (Lag (1960:729) om upphovsrätt till litterära och konstnärliga verk). The aforementioned logos may or may not be recognizable to the presumed exhibition viewer. Their potential recognition is dependent on said viewer’s awareness and possible membership of these media outlets, whereby listeners can become paying members to support said media outlet while also signifying affiliation and social status to the general public.
All of the items, so called artworks in the exhibition “Lindsay Lawson Attorney at Law” resemble the shapes of accessories such as hats and bags. By underlining the function of these accessory items as additional components to a larger whole, while relegating their status to secondary and non-essential. This assembled collection of objects in the exhibition space of Platform Stockholm can be interpreted as missing some key component, which is not an accessory, but rather an essential core element to the exhibition as a temporary event in time and space. The fulfilment of this exhibition as such, and beyond the artworks functioning as accessories, is wholly dependent on the participation of the presumed views, which is assumed to be willing participation upon entrance into the exhibition space
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Born in the United States and living in Berlin, Lindsay Lawson’s (1982) work spans a variety of media and a particular research-process of contractual legal agreements she called ‘Arrangements’. Her practice often deals with the presence and agency of objecthood in virtual and physical spaces. Lawson’s most recent work breaks apart images and text to leave the view with inherently flawed partial messages in the form of paintings and sculptures.
Lawson holds an MFA from the University of California, Los Angeles (UCLA), and a BFA from Virginia Commonwealth University. She has participated in several prestigious residencies, including the Skowhegan School of Painting and Sculpture, Skowhegan (2013); 1646, The Hague (2016); Trinity Square Video, Toronto (2015, 2017); and the Thun Ceramic Residency, Bolzano (2017).
Lindsay Lawson has presented her work in numerous exhibitions and performances, including A Side / B Side: Alizée Lenox and Els Vandeweyer play Lindsay Lawson's Organum, a performance at Bärenzwinger Berlin; Apophany!, a solo exhibition at Efremidis Gallery, Berlin; and Into the Drift and Sway, a group exhibition at Bärenzwinger Berlin. Her work has also been featured in group exhibitions such as grounded at Berthold Pott, Cologne; Studio Berlin at Berghain, Berlin; ongoing schmidt pick at carlier | gebauer, Berlin; Which Gregg Araki film are you? at Haus Wien, Vienna; Squish at Efremidis Gallery, Berlin; L'artista Paninaro at Pina, Vienna; The Garden, a sculpture park at Galerie Lisa Kandlhofer, Klosterneuberg; Garlands of Repose at MAUVE, Vienna; Pointland at Galerie Conradi, Hamburg; Self-Fulfilling Prophecy at Piktogram, Warsaw; and My Body Doesn't Like Summer at Haverkampf Galerie, Berlin.
Additional group exhibitions include Spirit Chair at CODE Art Fair, Copenhagen; Another Visit to the Sculpture at Laboratorio Arte Alameda, Mexico City; Every Other Thing at Galéria Krokus, Bratislava; Non-Target Unknown, a two-person exhibition at Platform Stockholm, Stockholm; The Intention of Things at Trafó Gallery, Budapest; and Vessel in Motion at Kunstverein Leipzig, Leipzig. Her solo exhibitions include Wokeness at Galerie Lisa Kandlhofer, Vienna; and NOPE at Gillmeier Rech, Berlin, while her work has also appeared in Skip Tracer, a group exhibition at M. LeBlanc, Chicago.
Lawson is represented by Efremidis Gallery in Berlin.
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This event is supported by Stockholm Stad and Kulturrådet
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Event Venue & Nearby Stays
Färgkontoret, Lövholmsgränd 12, 11743 Stockholm, Sweden, Färgkontoret, Lövholmsgränd 3, SE-117 43 Stockholm, Sverige,Stockholm, Sweden