Dexter Sinister |14.06 – 30.07.2017
Meet the Tetracono

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In 1965, Italian artist and designer Bruno Munari released the Tetracono with an event and exhibition at the Danese Milano showroom, inviting spectators to “. . . meet the Tetracono” as if it was a person. Instead Tetracono is a multiple product, an austere 15-cm black steel cube housing four aluminum cones, each painted half-red and half-green, designed to spin at four distinct speeds on an 18-minute cycle. Its function is to “show forms while they are in the process of becoming.” Developed from a 6-month fellowship at the American Academy in Rome, this setup features a rotating installation of 4 posters upstairs and a refreshed inventory of specific design titles in the bookshop downstairs, together with a short background video. Limited edition silkscreen posters announce the future exhibition project by Dexter Sinister at the beginning of 2018 in the COLLI independent space.


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Dexter Sinister

cartolina-DEXTER-SINISTER-(trascinato)

Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt. Dexter Sinister works as a publishing imprint and an exhibiting artist. Dexter Sinister is also the name of their basement space on New York’s Lower East Side, which operates as a “just-in-time workshop and occasional bookstore.” The workshop is intended to model a “just-in-time” economy of print production, ine realities of large-scale publishing. Dexter Sinister have increasingly been involved in broader gallery and museum projects, most recently at the Centre d’Art Contemporain, Geneva; Whitney Biennial, Venice Biennial New York; The Kitchen, New York; and Somerset House, London. In 2006, Dexter Sinister established a workshop in the basement at 38 Ludlow Street, on the Lower East Side in New York City. The workshop intended to model a ‘Just-In-Time’ economy of print production, running counter to the contemporary assembly-line realities of large-scale publishing. This involved avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. In 2011, together with Angie Keefer they set up “The Serving Library”, a not-for-profit cooperatively-built archive that assembles itself by publishing. The project’s engine is Dot Dot Dot’s successor Bulletins of The Serving Library – a journal that circulates as freely downloadable PDFs as well as a biannual print edition. Reinfurt and Bailey decided to make the catalogue the third issue of their journal Bulletins of the Serving Library, which continues the legacy of Dot Dot Dot, their “previous house journal which ran for ten years and twenty issues.” The catalogue/issue acts not as a compendium but a companion piece with thirteen essays, articles and visual works. It begins with “MMMMMMMMMMMM…,” by Andrew Blum, which appeared in The New York Times in 2003 under the title “The Modern’s Other Renovation.” It’s about MoMA’s history of logo redesign, beginning with the controversial 1966 decision to lower the upper case “O” and continuing to Yoshio Taniguchi’s subtle 2004 redesign. (Did you know that the little “o” was initially so unpopular that it wasn’t officially used for twenty years?)

SELECTED EXHIBITION

2017”…meet the Tetracono.”* COLLI independent art gallery – Roma
2015, Yes Yes Yes Alternative Press, 66’- 77’ from provo to punk – COLLI independent art gallery – Roma
2015, On a Unive
rsal Serial Bus – Kunstverein München – Kunstverein München – Monaco
2015, The * of Love – Galerie Martin Janda – Vienna
2014, STAGING of Dexter Sinister’s “The Last ShOt Clock” – CAC – Contemporary Art Centre – Vilnius – Lituania
2013, 55 Esposizione Internazionale d’Arte – Padiglione Lituano (Venezia)
2012, Spring Exhibition and Research Programme: Dexter Bang Sinister – Kunsthal Charlottenborg (Denmark)
2010, Frieze Project with Shannon Ebner
2010, Une exposition (du) sensible – Commissaire invité Mathieu Copeland – Centre d’art contemporain – la synagogue de Delme
2011, Dexter Sinister – ARTISTS SPACE EXHIBITIONS – NY
2010, OOGA BOOGA – Contribution for the bookshop display – Swiss Institute NY
2009, Walker Cinema
2009, Dexter Sinister (carte blanche) – CAM – Contemporary Art Museum St. Louis
2008, Whitney Biennial 2008
2007, HEKTOR MEETS DEXTER SINISTER – Swiss Institute NY

LECTURE

2017, Conférences IKEA Audtorium, ECAL
2016, TALK SHOW – ICA Londra
2016, NEON – Dexter Sinister
2016, PANEL – Swiss Institute NY
2010, The serving gallery – IASPIS STOCKHOLM – The Swedish Arts Grants Committee – Stoccolma
2009, Walker Art Center and AIGA Minnesota Present Insights 2009 Design Lecture Series – Walker Art Center
2008, Forms of Inquiry- IASPIS STOCKHOLM – The Swedish Arts Grants Committee – Stoccolma


WORKS

Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA + YELLOW, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA + YELLOW, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYMK, ed of 50 copies numbered and signed, 100 x 70 cm.

Dexter sinister, Stampa programmata, 2017, CYMK, ed of 50 copies numbered and signed, 100 x 70 cm.

Last Shot Clock, Edition of 16 custom-programmed microchip on 7 digit display, set with gloss black steel box.

Last Shot Clock, 2018, Edition of 16 custom-programmed microchip on 7 digit display, set with gloss black steel box, 23 x 10 x 10 cm

Watch Scan 1200 Dpi, 2015, edition of 50 copies, 100 x 70 cm.

Watch Scan 1200 Dpi, 2015, edition of 50 copies, 100 x 70 cm.