Nov 28–Nov 28, 2018

Maria Petschnig, Michel Auder, Leigh Ledare, Daphne Fitzpatrick


Maria Petschnig, Poké, garden, 2017

Michel Auder, Do you love me?

Leigh Ledare, The Task (excerpt,) 2017

Daphne Fitzpatrick, I like it, 2009

Michel Auder is a French artist who has been living in New York since 1969—after a spell in Paris, where he began to make films. Working from New York and internationally, he authored more than 550 works, using all moving image technologies of the times and all means available. His first video camera was Sony PortaPak and recently he has been filming mostly with his phone. Auder keeps busy with his immense and growing archive of video recordings and still images, editing timeless and radically contemporary works that mix memories of revisited visual material with desire for making new pictures. He showed his works in cinema screenings and exhibitions. Among his recent shows, Auder’s multi-channel video and sound installation The Course of Empire was commissioned by documenta 14 (2017); he held a solo show Dreams That Money Cant Buy at Karma International in Zurich (2021), and screened The Heads of Town (2011), Gemälde II (2016) and Several Perceptions (2022) in the official competition of St. Moritz Art Film Festival this year.

Daphne Fitzpatrick (B. 1964, Long Island, New York) lives and works in Brooklyn. Her work has been exhibited widely including at ACP (Artist Curated Projects), Los Angeles, CA; Know More Games, NY; American Contemporary, NY; Art In General, NY; Contemporary Arts Museum Houston, TX; Higher Pictures, NY; and Bellwether, NY. Her work has been reviewed in Artforum, The New Yorker, and The New York Times, and is featured in Vitamin 3-D: New Perspectives in Sculpture and Installation, published by Phaidon Press. In 2015, she completed a public commission for a monumental outdoor sculpture at Fisher’s Island, NY. She was a faculty member at Yale Sculpture from 2001-2011, and currently teaches at Bard College, ICP/Bard, and The Cooper Union. Fitzpatrick's 2018 solo exhibition at Gordon Robichaux, NY was reviewed by Rahel Aima in the September issue of Artforum.

The American artist Leigh Ledare (b. 1976, Seattle) follows in a tradition of critical artists whose works combine conceptual and experiential approaches to examine contradictions within society. Introduced to the art world through Pretend You’re Actually Alive (2008) – a project including photography, text and video which, chronicling his family, hinged on his mother’s controversial performance of sexual negation – his work has since extended to mine the intersections between psychoanalysis, social psychology, anthropology and the archive. This has included projects such as his 2017 feature film The Task, situationally based works structured around the combination of photography and existing archives, sculptural works, site specific interventions, and the creation of complex contractual frameworks that he uses to foreground issues of intersubjectivity, agency and consent. Ultimately, Ledare’s works transform the observer into the voyeur of intimate scenes while examining the social constructed nature of reality and the projective assumptions that surround it. Select exhibitions include: To you who make the springtime, I send my winter, Michele Didier, Paris (2022); XX XX, Meyer Reigger, Berlin (2021); The Plot, The Art Institute of Chicago (2017); Vokzal, The Box, Los Angeles (2016); Place du Jardin aux Fleurs, Office Baroque, Brussels (2016); Leigh Ledare, et al.a solo survey, WIELS Contemporary Art Centre, Brussels (2012); as well as group exhibitions including the 2017 Whitney Biennial, The Whitney Museum of Art, New York; Manifesta 11, Zurich (2016); and the exhibitions How Soon Is Now and Ca Me Touche, Les Rencontres d’Arles, France (2010 and 2009). Ledare has taught at Universities such as Princeton, Columbia, NYU, Calarts and The Cooper Union, and is currently a Senior Critic in the MFA Sculpture Department at Yale University.