Busan, KOR
November 6–8, 2020

Ad Minoliti
Austin Lee
Melike Kara
Donna Huanca
Beth Letain
Ajarb Bernard Ategwa
Paolo Salvador

Peres Projects is pleased to announce our participation in Art Busan 2020. Our presentation will be on view from Friday 6 – Sunday 8, November in person and online. Our presentation will open on Thursday 5, November to those with VIP Access.

Scroll down to find Korean text translation.

Find us at Booth A24
BEXCO Exhibition Center 2
55, APEC-ro, Haeundae-gu, Busan, Republic of Korea.

Growing up in the American Midwest, Richard Kennedy worked night shifts to finance his dance training. Since then, he has spent the majority of his career on various stages – both Broadway and nightclub alike. The artist’s extension into painting is part of a larger, multi-disciplinary practice that incorporates his body in multiple ways (in performance, sculpture, video) – the canvases barely containing the marks of the artist, which seem to stretch and extend beyond the edges. It is precisely through this excess that Kennedy is able to subvert the masculine construction of the medium itself. Kennedy’s paintings are expressive and elastic, reclaiming the art form from the overdetermination of its macho art-histories.

The texts that are scrawled across each canvas act as visual scores, setting the rhythm and the melody for each work and orienting the viewer. The texts are pulled from Kennedy’s own writings. This exploration of the power of speech acts is central to Kennedy’s work, as he grapples with the power that language has to call into being, like incantations summoning alternate futures. The power in the twisting, and reappropriation of language once uttered to degrade or shame. The language contributes to the affective charge of the paintings, with mourning, joy, fear and the sublime.

Kennedy’s works are at once immersive set design, characters in the acts, and stand-ins – extensions of the artist and gestural traces of his mark-making. The compositions echo across multiple registers to take on the legacy of abstraction, using European classical art forms for the articulation of a queer, Black experience.

미국 중서부에서 자란 리차드 케네디는 댄스 트레이닝 자금을 마련하기 위해 야간 교대 근무를 했다. 그 이후로 그는 그의 경력의 대부분을 브로드웨이와 나이트클럽 같은 다양한 무대에서 보냈다. 케네디가 회화로 작업을 연장한 것은 그의 몸을 재료로 사용하는 다양한 분야를 넘나드는 관행의 일부분이며, 그의 캔버스는 작가의 많은 흔적이 마치 가장자리를 넘어 뻗어나가는 것 같다. 케네디가 매체 자체의 남성적인 구조를 전복시킬 수 있는 것은 바로 이러한 과잉작업을 통해서이다. 케네디의 그림은 표현력이 풍부하고 탄력이 있어 굳은 신념의 마초적인 미술사로부터 예술 형태를 되찾았다.

각 캔버스에 휘갈겨진 텍스트는 시각적 포인트로 작용해 각 작품의 리듬과 멜로디를 설정하고 보는 사람의 방향을 정한다. 작품 안에 텍스트는 케네디 자신의 글에서 따온 것이다. 이러한 케네디의 작업의 중심은 연설 행위의 힘에 대한 탐구인데, 주문이나 그는 대체 미래를 주문 소환하듯 언어의 힘이 존재하도록 노력하고 있다. 한때 비하하거나 수치스럽게 표현된 언어를 왜곡하고 재수용하는 것에는 힘이 있다. 이 언어는 애도와 기쁨, 두려움, 숭고함과 같은 그의 회화의 강렬한 감정적인 면에 기여하고 있다.

그의 회화 작품은 한때 몰입도 높은 세트 디자인, 등장인물, 그리고 스탠드인으로 채워졌던 퍼포먼스로부터 작가의 확장과 그의 몸짓의 흔적을 남기는 과정을 보여준다. 작가 본인의 흑인이면서 성소수자였던 경험을 표현하기 위해 유럽 고전 미술 양식을 사용하며 추상화의 유산을  여러 기록에 걸쳐 계승하며 반향을 일으키고 있다.