Yonatan Vinitsky – Speed Corner Poster 40

Mostra personale

Comunicato stampa

Frutta has invited four galleries to literally invade the gallery space. Individually, each show acts as a pit stop both in the programme of Frutta and for the invited galleries. Together, they open up the gallery space to divergent practices and researches.

First up is Limoncello - presenting - Speed Corner Poster 40 - a solo show by Yonatan Vinitsky.

Opening Wednesday 10 April at 7 pm

10 – 27 April 2013

Vinitsky's rich practice is tricky to get to grips with, as so many divergent things happen simultaneously within his works and exhibitions. Attempting to designate different strands* gives us a list of tools with which to begin looking:

Starting with his #use of source imagery: every single work begins with a real, existing element from the world, art or otherwise. It is then #translated or reproduced into Vinitsky's own works. This, almost incidentally, leads to the#creation of narratives through orchestrating information and releasing it afresh, but more importantly the 'translation' is effected through his #decision-making processes and #specificity of materials. Vinitsky corresponds his imagery and concept to the materials in each work; an example being his limited seven-colour palette (derived from matching colours to those sampled in road markings in London, or a train station in Warsaw, for example) used in his monochrome paintings. This specificity is played out in his media captions, sometimes pages long, detailing every component part of a work.

#Development of techniques is paramount and is another form of Vinitsky's palette: with his monochromes he developed back-painting on acetate and has now moved to painting on glass. Other examples include his etching with plasticine, or 'drawing' using rubber bands or lengths of elastic stretched round nails to delineate shapes. These techniques and materials are inextricable from how he finds #display solutions for each work, which often points to the institution, irrespective of the actual context, from the humblest project space to the museum itself.

More than multi-disciplinary, Vinitsky has #mercurial aesthetics, jumping wildly to the extent that the works seem to be made by a number of artists, evoking a group show within his solo shows. Aided by his #collaborations, often sought through the people featured in his sources, rather than orthodox artistic collaboration, he approaches his collaborators as materials. Vinitsky's entire enterprise is only fully realised in his #exhibition-making, either beginning with a story to form works within an exhibition or more often, selecting works that will sit together to create a dense web of connections between them.

*This small list merely details a number of strands; to give body and elucidation requires a longer list of sub-strands... another time.

This exhibition marks the first presentation of Vinitsky’s work in Italy; which will be followed by his forthcoming solo booth at Liste18, Basel; and the start of his 8-month residency at Palais de Tokyo, Paris, in November. He also has a book ‘VINITSKY YONATAN KISKÖNYVE’ launching during a group show at Czarna Galeria, Warsaw, this month. Born 1980 in Jerusalem, Vinitsky currently lives between London and Haifa, Israel. He studied in London at Goldsmiths (2006) and Royal College of Art, Sculpture (2009).