zero, ground

Installation shot. From left to right:

Kathy Slade
Alas, poor YORICK!, 2002
Oil on canvas with stick
188 x 35.5 cm
Courtesy of the artist

Denzil Hurley
Glyph D/ZF, 2014-16
Oil on canvas
188 x 35.5 cm
Courtesy of the artist

Denzil Hurley
Coupled Glyph A2, 2014-16
Oil on canvas on panel with sticks
106.5 x 112 cm
Courtesy of the artist

Denzil Hurley
GlyphA/ZF, 2014-15
Oil on canvas on board with green metal pole
147 x 61 cm
Courtesy of the artist

zero, ground

Kathy Slade
Alas, poor YORICK!, 2002
Embroidery on cotton
29.8 x 40.6 cm
Courtesy of the artistbr>
zero, ground

Installation shot. From left to right:

Denzil Hurley
Glyph D/ZF, 2014-16
Oil on canvas
188 x 35.5 cm
Courtesy of the artist

Denzil Hurley
Coupled Glyph A2, 2014-16
Oil on canvas on panel with sticks
106.5 x 112 cm
Courtesy of the artist

Denzil Hurley
GlyphA/ZF, 2014-15
Oil on canvas on board with green metal pole
147 x 61 cm
Courtesy of the artist

zero, ground

Tacita Dean
LA Exuberance 1-15, 2016
3-color blend lithograph on paper
82 x 92 x 3 cm each
Private Collection

zero, ground

Tacita Dean
LA Exuberance 13, 2016
3-color blend lithograph on paper
82 x 92 x 3 cm each
Private Collection

zero, ground

Installation shot. From left to right:

Frank Stella
Tomlinson Court (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Marriage of Reason and Squalor (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Getty Tomb (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Die Fahne Hoch (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Arbeit Macht Frei (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Clinton Plaza (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Arundel Castle (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Bethlehem’s Hospital (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Club Onyx Seven Steps (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

zero, ground

Frank Stella
Club Onyx Seven Steps (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

zero, ground

Installation shot. From left to right:

Frank Stella
Arbeit Macht Frei (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Clinton Plaza (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Arundel Castle (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Bethlehem’s Hospital (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Frank Stella
Club Onyx Seven Steps (Black Series 1), 1967
lithograph
42 x 59 cm
Private Collection

Andy Warhol
JFK Close-up in Black, 1968
Screen print
58 x 58 x 3.9 cm
Private Collection

zero, ground

Installation shot. From left to right:

Rodney Graham
Untitled, 1976
Polaroid
10.6 x 8.5 cm
Private Collection

Beate Terfloth
Vancouver Wall Drawing, 2018
Graphite
373.4 x 134.6 cm
Courtesy of the artist

zero, ground

Installation shot. From left to right:

Wolfgang Tillmans
Studio, 2012
inkjet print on paper
30.5 x 40.6 cm
Private Collection

Myfanwy Macleod
Muladhara, 2016
Transmounted lightjet print
182.9 x 146 cm
Private Collection

zero, ground

Installation shot. From left to right:

Philipp Lachenmann
R-SERIES DJ #9 (Donald Judd), 1995
Cibachrome on dibond
180 x 120 cm
Private Collection

Antonia Hirsch
Mobilemobile I, 2016
Dibond, spring steel, stainless steel
175.3 x 175.3 x 175.3 cm
Private Collection

Bettina Pousttchi
Erwin, 2012
Street bollards, powder coated
184 x 84 x 48 cm
Private Collection

Damian Moppett
Figure and Ground I, 2016
Oil on canvas
213.36 x 187.96 cm
Private Collection

Damian Moppett
Figure and Ground II, 2016
Oil on canvas
213.36 x 187.96 cm
Private Collection

zero, ground

Installation shot. From left to right:

Antonia Hirsch
Mobilemobile I, 2016
Dibond, spring steel, stainless steel
175.3 x 175.3 x 175.3 cm
Private Collection

Damian Moppett
Figure and Ground I, 2016
Oil on canvas
213.36 x 187.96 cm
Private Collection

Damian Moppett
Figure and Ground II, 2016
Oil on canvas
213.36 x 187.96 cm
Private Collection

Tara Donovan
Untitled, 2015
Ink on paper
113.5 x 4.5 cm
Private Collection

zero, ground

Installation shot. From left to right:

Philipp Lachenmann
R-SERIES DJ #9 (Donald Judd), 1995
Cibachrome on dibond
180 x 120 cm
Private Collection

Antonia Hirsch
Mobilemobile I, 2016
Dibond, spring steel, stainless steel
175.3 x 175.3 x 175.3 cm
Private Collection

zero, ground

Installation shot. From left to right:

Amber Frid-Jimenez
Burning ballet mécanique, 2018
Video, self, burnt ink on plywood
16 min, 190.5 x 203.2 cm
Courtesy of the artist

Stan Douglas
Hogan’s Alley, 2014
digital c-print on dibond aluminum
157.5 x 309.9 x 7.6 cm
zero, ground

Amber Frid-Jimenez
Burning ballet mécanique, 2018
Video, self, burnt ink on plywood
16 min, 190.5 x 203.2 cm
Courtesy of the artist


May 26 - August 18, 2018

Tacita Dean, Tara Donovan, Stan Douglas, Amber Frid-Jimenez, Rodney Graham, Antonia Hirsch, Denzil Hurley, Philipp Lachenmann, Myfanwy MacLeod, Damian Moppett, Bettina Pousttchi, Kathy Slade, Beate Terfloth, Wolfgang Tillmans, Frank Stella and Andy Warhol.

zero, ground, looks at art works that engage darkness and its potential. Taking inspiration for its title from 0, 10 The Last Futurist Exhibition, this project considers the impact of formal negation as a device since the obliterating effect of Malevich’s Black Square, 1915.

0,10 was the first exhibition of Suprematism, with its entirely non-figurative compositions. Through this numeric title, the participants envisioned a new future, stating that with their old order now dissolved a new zero could begin, starting over from nothing. This critical ground declared a new role for art, free from the proscription of representation, the radical negation of Malevich’s Suprematism incorporating abstract form as a mode for the investigation of contemporary life. This radical antithesis was echoed forty years later, when zero was again claimed to name another new start in socially cathartic picture making. Based in monochromatic annihilation, artists Heinz Mack and Otto Piene organized exhibitions and publications under the moniker ‘ZERO’. Their avant-gardist ambitions reached out across the continent to find monochrome convergences in Yves Klein, Lucio Fontana and Piero Manzoni. Their interests reverberated across the globe with the work of the Nouveau Realists, Arte Povera, Gutai, Minimalism, and Venezuelan Op art.

This exhibition gathers work that feels the monotone force of this international tendency, since these modernist beginnings, and focuses on artists who have utilized monochromatic abstraction as a form of insurrection: a descriptive force that obfuscates and negates as a means through which they frame sites of social discontent. zero, ground identifies and considers image making that resonates Malevich’s profound obfuscation as a way behind the veil, beyond the accepted real, and identifying high contrast as an artifice which may blur distinctions of figure and image to create a visual understanding of things as more than what they seem.

Bringing together a range of works that utilize this modernist method for contemporary subjects, the exhibition will also provide a discursive platform for investigating this formal proclivity and its recurrence. Through reading groups, artist talks and presentations, the exhibition will provide an active component, from various contemporary critical perspectives, to evolve discursive explorations of these individual artist’s worldviews. In this way zero, ground seeks to be a research site that will accumulate scholarship through the duration of the exhibition project which will be compiled in an accompanying digital resource, available free to the public through our website.