[스크랩] 뱅크스 바이올렛(Banks Violette)

 

Banks Violette

(born 1973, Ithaca, New York) is an artist based in New York.

Violette studied at the School of the Visual Arts in New York earning at BFA in 1998, and graduated with an MFA from Columbia University in 2000.

Violette’s work has shown internationally at galleries and museums including the Whitney Museum of American Art in New York, the Yerba Buena Center for the Arts in San Francisco, Schirn Kunsthalle Frankfurt, Museum Boijmans van Beuningeng in Rotterdam, the Migros Museum in Zurich. He participated in the “Greater New York” exhibition at PS1 Center for Contemporary Art in New York and “USA Today” at The Royal Academy in London. His work is featured in several prominent collections including the Musee d’Arte Moderne et Contemporain Geneva, Museum of Contemporary Art, Los Angeles, the Saatchi Gallery in London, and MOMA and the Guggenheim Museum, both in New York. He is represented by Team Gallery in New York, Maureen Paley Gallery in London and Galerie Thaddaeus Ropac in Salzburg.

Death metal, ritual murder and teenage suicide are starting points for Banks Violette. His work is notable for combining references to excess from youth culture with minimalist form, often using glossy black and ghostly white materials. Citing examples where musical lyrics become instigating factors to real-life violence, Violette refers to an over-identification with fiction, where fantasy and reality are blurred. For example, for his first solo museum exhibition at the Whitney Museum of American Art in New York, May 27-Oct. 2, 2005, Violette erected a life-sized recreation of a burned-out church on a black stage, inspired by an image from the cover of a black metal record and surrounded by a 5.1 surround score composed by Thorns Ltd consisting of a varied backdrop of ambiences ( www.thornsltd.no ). According to Violette, the inspiration of the piece was a series of instances of arson committed by rival metal enthusiasts in Norway, which culminated in the 1993 knife murder of Øystein Aarseth, singer of the black metal band Mayhem by Varg Vikernes of the band Burzum.^[1]

Violette continues to make work, frequently using collaboration as a springboard for his new installations. Stephen O'Malley of Sunn O))) has just completed recording a soundtrack that will accompany Violette's upcoming double show at Team Gallery and Gladstone Gallery in New York.

 

뱅크스 바이올렛 Banks Violette (1973년생). 뉴욕 거주 및 활동. 조각 및 멀티미디어 설치.

 

31살의 나이에 휘트니 미술관에서 개인전. 소호의 uberhip한 젊은 갤러리 Team에서 발굴, 그러나 현재 그 막강한 Gladstone이 구애 중. 최근 두 갤러리가 '합작'해서 개인전 개최. 런던에선 Jay Jopling만큼 대중적 인지도는 없더라도 미술계 인사이더들에게 내실 튼튼한 갤러리로 통하는 Maureen Paley(터너상 수상자 Wolfgang Tilmans, Gillian Wearing소속)에서 관리.

 

젊은 나이와 지극히 컬트적인 요소들을(데스메탈음악을 중심으로 형성된 하위문화) 다룸에도 불구하고 조형적언어나 시각적 감수성, 미술사적 의식을 높이 평가받고 있음.

표면적인 팝요소와는 달리, 작품제작의 재료나 과정에서(불타버린 교회를 소금을 사용해 실물 스케일로 캐스팅을 한다거나, 단조로운 베이스 기타음이나 다른 퍼포먼스적인 요소를 작품에 도입한다거나) 볼 수 있듯이 Robert Smithson, Bruce Nauman, Richard Serra등으로 이어지는(그리고 좋던 싫던 컨템퍼러리 미술계보에서 높은 위상과 막강한 영향력을 확보한) 포스트미니멀 라인의 후계자로 인식되고있다. 그러므로 미술관들과 대형 컬렉터들은 조용히 구입하고 있음.

 

다시말하자면 '대가'로 성장할 기반을 충분히 갖춘것이다. 특히 페인팅이나 사진, 비디오등 타 장르에 비해 젊은 세대의 대표주자라고 할 수 있는 작가들이 드문(Matthew Barney를 빼면) 미국 조각 분야에서 두각을 나타내고 있다는 점에서 앞으로도 상당히 주목을 받을것으로 미술계 인사이더들은 보고있다.

 

Hate Them

2004
polystyrene, polyurethane, tinted epoxy, wood, steel, drum stands and hardware
152.5 x 366 x 244 cm

Banks Violette’s Hate Them replicates a nightmarish teenage psyche. His minimalist suggestion of a rock band hovers above a sound stage with barbaric awe. Bank’s gnarlish fang-like forms encapsulate a testosterone-fuelled aggression with an iconic and primal flair. Drawing correlations between subculture and theatre, Violette addresses Black Metal as a performative act without clear limitation: a unique spectacle where artistic meaning is often literalised into real belief. Fuelled by its associations with violence, satanism, racism, and nationalism, Violette uses the Goth genre as both symptom and cause of individual immorality and social breakdown.

 

 

Banks Violette. Team Gallery Installation Shots, 2007

 

 

2006
white cast salt space Steel, hardware, plywood, paint, fibreglass, tinted epoxy, salt, resin
Dimensions variable

 

Banks Violette. Team Gallery Installation Shots, 2007

 

 

 

 

2006
white cast salt space Steel, hardware, plywood, paint, fibreglass, tinted epoxy, salt, resin
Dimensions variable

Banks Violette. Gladstone Gallery Installation Shots, 2007

 

Banks Violette. Untitled (2005). Five colour silkscreen on paper, 61 x 61 cm

 

 

 

 

 

2006
white cast salt space Steel, hardware, plywood, paint, fibreglass, tinted epoxy, salt, resin
Dimensions variable

 

Banks Violette’s Untitled takes as its origin a performance by the rock bank SunnO))) which the audience was allowed to hear, but not to see. Casting their stage equipment in salt, Violette’s Untitled comprises the only visual documentation of this event. Through its strange crystalline and ghostly presence, Untitled captures the lingering aura of ominous phenomena. Reminiscent of the biblical story of Sodom, Violettle’s contemporary ‘pillars’ of salt give aftermath testimony to forbidden indulgence. During SunnO)))’s performance, the lead singer was encased in a black coffin. Represented as a shard-like abstraction, an ebony form takes centre stage as a mysterious monument of dissolution.

 

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