current show

Brice Brown

Silhouette / Champion

March 10 – April 24, 2016


Air Circulation in Paris: 11 Rue Michel le Comte, 75003 Paris, France

br2Untitled, 2016 Archival pigment print on canvas, 40 x 70 inches, diptych

Air Circulation is pleased to present Silhouette/Champion, a pop-up exhibition in Paris, France, of new work by Brice Brown. Consisting of video, sound, sculpture, textiles, and pigment prints, Brown’s exhibition investigates broad notions of health, love, and loss by exploring the detrimental, consumptive, and celebratory aspects of being completely obsessed with an idealized object. This exhibition is part of Air Circulation’s plan to promote nomadic pop up projects around the globe.

br3I Looked Down I Realized I Had A Body, 2016 Three-channel video with sound

The centerpiece of Brown’s exhibition is “I Looked Down I Realized I Had A Body,” a three-channel, feature-length video collaboration with dancer Gino Grenek, a principal with Stephen Petronio Dance Company, and composer Alan Schockley. Conceived as a triptych based on concepts inspired by Yukio Mishima’s novel The Temple of the Golden Pavilion, the installation also comprises wax casts of Grenek’s hands and feet, sterling silver casts of discarded apple cores, Shockley’s shimmering and eerie immersive sonic landscape, and archival pigment prints of invented landscapes. As noted by critic Lance Esplund in his essay for the accompanying catalog, “What are we to make of Brice Brown’s…I Looked Down I Realized I Had A Body? Is it dance, film, experimental theater, performance art? Is it a celebration or a lamentation, a narrative or poetry-in-motion? …maybe it explores notions of the body as burden and its environment as cage—impediments to the spirit. Perhaps, instead, it’s a metaphor for degeneration and mortality—a wrestling match between Brown (who is 43) and his midlife crisis. Or is it an enigmatic mishmash, an open-ended riddle: all of the above?”

br1Residue, 2016, Sterling silver

In the basement space is a site-specific, immersive installation of multiple hanging textile panels printed with images of digitally corrupted roses. As visitors are forced to physically navigate through and around these floor-to-ceiling length panels, they directly experience the inherent double-sidedness of beauty, of an object’s ability to be simultaneously beguiling and terrifying.