FOR IMMEDIATE RELEASE
California State University Fullerton Grand Central Art Center Main Gallery and Project room Presents
20 artists address The Romantic in the 3rd installation in a series of nomadic group exhibitions
Eric Allan Bené
Luis G. Hernandez
April 1- May 21, 2006
Opening Reception April 1,2006 7-10pm
Catalog release May 6,2006
CSUF GRAND CENTRAL ART CENTER
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The Delusionarium series, organized by Los Angeles-based artist Jesse Benson, was initiated in 2004 as a means of challenging some existing exhibition conditions and certain curatorial agendas.
Each exhibition in the Delusionarium series attempts to form a symbiotic relationship between the work in the show, the exhibition topic, and the situation and space. The Delusionarium series questions the nature of curatorial projects that overwhelm artists’ projects. The series is equally suspect of art objects or art-viewing spaces that act autonomous. The nomadic nature of the Delusionarium series allows each show to take on the specific characteristics of the surrounding space and situation. This makes it more difficult to ignore the conditions of the site, both for the artists and for the viewers. However, the Delusionarium series never asks artists for site-specific projects, as such, merely an awareness of the surrounding conditions.
Most contemporary group exhibitions are dominated by 1 of 3 aspects: 1. artwork that acts autonomous; 2. a curatorial theme that projects too much meaning onto the artwork; or 3. a space that overshadows the projects. The Delusionarium series attempts to find a sort of balance, a symbiosis, between artwork, exhibition topic, and space; Each one is acknowledged by both artist and viewer, without any one aspect dominating. All three factors should work together to provide the most meaningful viewing experience possible, not fight against one another for dominance.
For this reason, Delusionarium 1 and 2 shows explore the huge and open topic of The Romantic. Loaded with potential meanings and aesthetic conversations, the topic of The Romantic is such a broad idea that it allows for a great range of responses from the artists. Though there are occasional links in sensibility and/or in form between projects, each Delusionarium artist poses his/her own specific relationship to the topic and to the conditions of the site. Subject matter, materials, and methodology all range widely amongst the artists in Delusionarium. As for their relationships to The Romantic, artists pose positions that are sometimes cynical, sometimes hopeful, or both.
Delusionarium 3, an exploration of The Romantic and culmination of Delusionarium 1 and 2 includes all types of forms and materials, from installation-based works, to performance, to drawing and painting, to sculpture, to kinetic sculpture, to video. Among the projects installed are: a performance and installation using hired female escorts by artist Joe Sola; an interactive video game project by artist Johan Thurfjell; and a sculpture by artist Lindsay Brant based on Percy Bysshe Shelley’s poem Ozymandias.