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Ryan Gander, Old Languages in very Modern Styles

A solo show by Ryan Gander
gb agency, Paris
From October 13 to November 24, 2018


Ryan Gander has established an international reputation through artworks that materialize in many different forms – from sculpture to film, writing, graphic design, installation, performance and more besides.

Through associative thought processes that connect the everyday and the esoteric, the overlooked and the commonplace, Gander’s work involves a questioning of language and knowledge, as well as a reinvention of both the modes of appearance and the creation of an artwork. His work can be reminiscent of a puzzle, or a network with multiple connections and the fragments of an embedded story. It is ultimately a huge set of hidden clues to be deciphered, encouraging viewers to make their own associations and invent their own narrative in order to unravel the complexities staged by the artist.

Ryan Gander
Partial view of show ‘Old Languages in very Modern Style’, 2018

Photo Aurélien Mole

Ryan Gander
Let the world take a turn, (Wall encounter), 2018

Vinyl letters on painted wall
Edition of 3 (+1 A.P.)

A saying often repeated by the artist’s father when he was a young boy.

Photo Aurélien Mole

Ryan Gander
Partial view of show ‘Old Languages in very Modern Style’, 2018

Photo Aurélien Mole

Ryan Gander
Agent of Connectivity, 2018

Holographic projection
Unique

A virtual asset in a real landscape. A holographic projection of a satellite phone, seeming to hover in mid-air, in front of which is the video game action command to pick up the object, as one might expect to see in virtual game play.

Ryan Gander
Partial view of show ‘Old Languages in very Modern Style’, 2018

Photo Aurélien Mole

Ryan Gander
Equivalent Economies and Equivalent Means, 2018

Installation
Edition of 1 (+1 A.P.)

A vending machine displaying a single bundle of 200 euros notes, totalling 10,000 euros. The remaining vending slots contain a variety of palm-sized, rounded stones found by the artist on a beach near his home. All items are available to purchase for 9.999,99 euros. Part of the vending machine’s display uses the font Set in Stone, a useable font designed by the artist and produced by Adrien Vasquez of John Morgan Studio, based on a collection of stones found on a beach by the artist’s children.

Ryan Gander
Equivalent Economies and Equivalent Means, 2018

Installation
Edition of 1 (+ 1 A.P.)

A vending machine displaying a single bundle of 200 euros notes, totalling 10,000 euros. The remaining vending slots contain a variety of palm-sized, rounded stones found by the artist on a beach near his home. All items are available to purchase for 9.999,99 euros. Part of the vending machine’s display uses the font Set in Stone, a useable font designed by the artist and produced by Adrien Vasquez of John Morgan Studio, based on a collection of stones found on a beach by the artist’s children.

Ryan Gander
Equivalent Economies and Equivalent Means, 2018

Installation
Edition of 1 (+ 1 A.P.)

A vending machine displaying a single bundle of 200 euros notes, totalling 10,000 euros. The remaining vending slots contain a variety of palm-sized, rounded stones found by the artist on a beach near his home. All items are available to purchase for 9.999,99 euros. Part of the vending machine’s display uses the font Set in Stone, a useable font designed by the artist and produced by Adrien Vasquez of John Morgan Studio, based on a collection of stones found on a beach by the artist’s children.

Ryan Gander
Partial view of show ‘Old Languages in very Modern Style’, 2018

Photo Aurélien Mole

Ryan Gander
Partial view of show Old Languages in very Modern Style, 2018

Photo Aurélien Mole

Ryan Gander
Partial view of show Old Languages in very Modern Style, 2018

Photo Aurélien Mole

Ryan Gander
2000 year collaboration (The Prophet), 2018

Installation
Edition of 3 (+1 A.P.)

An animatronic mouse partially visible emerging from a hole broken through the gallery wall. The mouse delivers a 9 minute monologue using the voice of the artist’s 9 year old daughter, imparting a philosophical speech based on the final scene of The Great Dictator (1940) by Sir Charles Spencer Chaplin, rewritten from a post-simulacrum perspective.

Ryan Gander
2000 year collaboration (The Prophet), 2018

Installation
Edition of 3 (+1 A.P.)

An animatronic mouse partially visible emerging from a hole broken through the gallery wall. The mouse delivers a 9 minute monologue using the voice of the artist’s 9 year old daughter, imparting a philosophical speech based on the final scene of The Great Dictator (1940) by Sir Charles Spencer Chaplin, rewritten from a post-simulacrum perspective.

Ryan Gander
I left my pride outside today, 2018

Installation
Edition of 1 (+ 1 A.P.)

Discarded visitors’ stickers to a para-possible future fictional museum called ‘The Museum for the History of Presimulation’, left stuck to street furniture outside and around the door of the exhibition venue

Ryan Gander
I left my pride outside today, 2018

Installation
Edition of 1 (+ 1 A.P.)

Discarded visitors’ stickers to a para-possible future fictional museum called ‘The Museum for the History of Presimulation’, left stuck to street furniture outside and around the door of the exhibition venue

Ryan Gander
I left my pride outside today, 2018

Installation
Edition of 1 (+ 1 A.P.)

Discarded visitors’ stickers to a para-possible future fictional museum called ‘The Museum for the History of Presimulation’, left stuck to street furniture outside and around the door of the exhibition venue

Ryan Gander
I left my pride outside today, 2018

Installation
Edition of 1 (+ 1 A.P.)

Discarded visitors’ stickers to a para-possible future fictional museum called ‘The Museum for the History of Presimulation’, left stuck to street furniture outside and around the door of the exhibition venue