EXHIBITION: Channa Horwitz at François Ghebaly gallery, Los Angeles

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To the Top“, Channa Horwitz

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“A Chamber for Horwitz; Sonakinatography, Transcriptions in Surround Sound”, a project by Haroon Mirza

@François Ghebaly gallery, Los Angeles
February 13 – March 26

 

Driven by the strength of his conviction that LA based artist Channa Horwitz was big, gallerist François Ghebaly is lifting her art up to a level she would have deserved a long time ago. Unfortunately she passed away in 2013, but her artwork is well present and is getting more and more obviously brilliant with the time.

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The matrix (above) for the project by Haroon Mirza, titled “A Chamber for Horwitz; Sonakinatography Transcriptions in Surround Sound”(below)

IMG_9915 In the project room, artists Haroon Mirza gives to that piece above a voice, litteraly a voice because he transcripts Horwitz’s; Sonakinatography in Surround Sound” giving each color a sound and each bar its own physical bar.

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Main Exhibition, here is the integral Press Release:

Beginning in 1964, Horwitz directed her practice through the exploration of limitation and rules as a means to experience greater freedom and depth of exploration within her work.
After setting her framework and developing a primary language stemming from the boundaries of the grid, she developed a notation system to track movement and time visually; she named this series Sonakinatography.
Through different permutations of a count of eight she created unique compositions, conceptually and visually consummate in their two dimensional graphic form, while also open to performative or installational interpretation.
Each number was given an associated path within eight beats, and sometimes also a corollary color or symbol, which, when plotted according to their rules, would create her composition. The eight numbers could be expressed in countless forms such as colors, lights, persons, dancers, or instruments.
The beats dictated their various sounds, pitches and movements.
Through this system of eight, Horwitz developed a new language that could be applied universally, and the ability to track the ‘fourth dimension’ two dimensionally.
While Sonakinatography was most often transcribed by the plotting of points or marks on a grid, the works exhibited stem from this seminal series and are all linked by their use of lines and systematic angles to chart their compositional sequence.
The exhibition focuses on Horwitz’ play of 8 angles as a means to a rhythmic system of drawing. All bodies of work in the exhibition can be traced back to Sonakinatography
through the continued exploration of systematic notation, and forward through
deconstructing permutations informed by her creative inquiry, “What would happen if I …?”
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The exhibition begins with a progression of eight works from the Rhythm of Lines
series. This body of work explores eight different angles of two different intersecting lines, each assigned a specific color for the angle, borrowed from the color and number
vernacular of Sonakinatography. The variance of intersecting angles determines what is being plotted and the subtle diversity of the resulting moiré patterns and compositions.
Works such as Slices and Four Levels, To the Top (the namesake of the exhibition) are situated together, each tracking movement across the page through careful linear processions.
“To the Top” progresses the compositional structure of Sonakinatography from a square that grows into a cube and then back down to a square moving along the page while each in the sequence of eight play their part. Slices further reduces the progression of To the Top into eight continuous lines that intersect with the others in the sequence. This drawing is then reimagined as a three dimensional object, that can be sliced through like a loaf of bread, to
reveal fragile cross-sections of the linear points that dictate its form.
The exhibition finishes with a space to better understand the prominence of the number ‘eight’ and the works surrounding the sequence that was seminal to Horwitz’ practice. The
Book of 8 centers the room with an expansive view at the relationship between her drawings and the number sequences that they illustrate. Other works surrounding this piece expand on this relationship of numerical sequence, line and systems that were fundamental to Horwitz’ practice.

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