VOLTA NY ARTFAIR, Art Money Booth B1

March 7-11, 2018


For VOLTA NY, 2018 Art Money is pleased to present Traveling Spaces, a group exhibition curated by the RE-SITED collaborative Melissa Bianca Amore & William Stover. The exhibition features works by artists Willem Besselink (Dutch, b. 1980), Caroline Cloutier (Canadian, b. 1985) Reinoud Oudshoorn (Dutch, b. 1953) and Ira Svobodová (Czech, b. 1986). 

These artists through various mediums create a series of “interruptions in space,” whereby addressing ideas of “site” and “space” across painting, photography, sculpture and installation. Each medium, in this instance, becomes a psychological and a physical “medium of site.” Attention is quietly drawn to the visual siteline that is activated across the Art Money booth, gesturing one singular form or line that folds and reforms across each medium, referencing the difference between the physicality of being in space and the act of looking at the representation of space. These artists extend and reflect the site through the process of imitation and repetition. They conceptually render the sense of observing “space” and “site,” as interchangeable ideas and modalities. 


Willem Besselink’s site interventions are a result of translating everyday patterns into a system of codes and a network of interconnected structures. For this exhibition Besselink has created a succession of serial lines, made from wood, that form a geometric wall cutting that reveals and inverts the existing architecture. The interlacing configurations and points of intersection create new possibilities and a visual symmetry. “My work derives from a fascination with structures that are embedded within daily occurrences,” he says. “Structures that are invisible at any given point, but that repeat and become apparent in time.” Besselink extends and reflects the site, purely, through the process of imitation and the act of mimesis.


Caroline Cloutier’s site installations, made from modest materials such as vinyl and mirror, create illusions that break through the walls and activate a spatial disorientation. By modifying the familiar, our perception of space is multiplied, whereby the viewer becomes entangled in the image of infinite space, rather than the space itself. Cloutier says: “My photographic installations attempt to deconstruct exhibition spaces. Thus sculpted with new hollows and multiple surfaces, the spaces of my interventions become the locus of a truly upended reality, a virtual space of indeterminate boundaries into which the body is inscribed by mental projection.”


Reinoud Oudshoorn’s optical arrangements combine the principles of architecture, painting and drawing into new configurations. Working primarily with iron and frosted glass, his works become inverted reflections that induce a type of perceptual ambiguity. Each intelligible structure activates and frames the site that it occupies, making the viewer re-examine the appearance and representation of space itself. These sculptures dissolve into an illusionary vanishing point and reveal the immaterial, becoming windows or portals into a space beyond the tangible.

The concept of extending the site or space beyond the frame is also examined in Ira Svobodová’s paintings. Through the process of folding, the artist combines abstraction with architecture to examine the psychology and the materiality of cardinal orientation. These works spatialize space, and provide new ways of experiencing the object or rather, the "painting of space." The sheer vastness and endless pleats envelop the spectator into a space of conceptual lines and architectural contours that are both imagined and observed. 

These artists provide a basis for questioning what we see, and how we begin to identify the very thing or object under observation. Each mechanism, whether a painting, sculpture or image, makes one re-examine how a medium becomes a space of site