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Natalie Czech. One can’t have it both ways and both ways is the only way I want it.
CLOCK / SEAGRAM’S, 2016
color print, resin, glue, 56 × 83 cm
Courtesy l’artiste, Capitain Petzel, Berlin et Kadel Willborn, Düsseldorf
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from left to right:
PEN / PR SHIRT, 2016
color print, resin, glue, 70,5 × 152,9 cm
JEANS / HOUSE, 2016
color print, resin, glue, 135 x 81 cm
CLOCK / SEAGRAM’S, 2016
color print, resin, glue, 56 × 83 cm
AVATAR / WE, 2016
color print, resin, glue, 128,1 × 87,8 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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PEN / PR SHIRT, 2016
color print, resin, glue, 70,5 × 152,9 cm
JEANS / HOUSE, 2016
color print, resin, glue, 135 x 81 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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JEANS / HOUSE, 2016
color print, resin, glue, 135 x 81 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf–
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A POEM BY REPETITION BY BRUCE ANDREWS, 2013
3 color prints, 58 x 68,1 cm chaque
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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CAMERA / FJÄLLRÄVEN, 2016
print color, resin, glue, 73,5 × 101,6 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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from left to right:
PAPERDRAFT, 2015
color print, resin, glue, 116,6 × 81 cm
NOZZLE CHECK, 2015
color print, resin, glue, 70 x 93 cm ; 71 x 97 cm
CAMERA / FJÄLLRÄVEN, 2016
print color, resin, glue, 73,5 × 101,6 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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from left to right:
A CRITIC’S BOUQUET BY VINCENZO LATRONICO FOR THE EDITOR, 2015
print color, 110 x 82,5 cm
A CRITIC’S BOUQUET BY VANESSA DESCLAUX FOR MARC CAMILLE CHAIMOWICZ, 2015
print color, 110 x 82,5 cm
A CRITIC’S BOUQUET BY RACHEL VALINSKY FOR CAMILLE HENROT, 2015
print color, 110 x 82,5 cm
A CRITIC’S BOUQUET BY HILI PERLSON FOR BERLINDE DE BRUYCKERE, 2015
print color, 110 x 82,5 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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A CRITIC’S BOUQUET BY PETER SCOTT FOR FISCHLI WEISS, 2015
color print, 110 x 82,5 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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from left to right:
A POEM BY REPETITION BY VSEVOLOD NEKRASOV II, 2015
2 color prints, 65,5 x 103 cm each
Collection Josée & Marc Gensollen
A POEM BY REPETITION BY ARAM SAROYAN, 2013
3 color prints, 67 x 67 cm ; 67 x 17,7 cm ; 67 x 20,5 cm
Collection particulière
A POEM BY REPETITION BY ROBERT GRENIER, 2014
2 color prints, 62 × 89 cm each
Courtesy de l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
A POEM BY REPETITION BY ROBERT CREELEY #3, 2013
2 color prints, 114 x 76,3 cm ; 130,6 x 76,7 cm
Courtesy de l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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from left to right:
A POEM BY REPETITION BY BRUCE HAINLEY, 2013
3 color prints, 134,4 × 79,9 each
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
A POEM BY REPETITION BY CID CORMAN, 2015
2 color prints, 89 x 59,4 cm ; 81 x 54 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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A POEM BY REPETITION BY VSEVOLOD NEKRASOV (RED), 2016
2 color prints, 81 x 102 cm ; 81 x 102 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
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IL PLEUT, 1916 (GUILLAUME APOLLINAIRE)
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A POEM BY REPETITION BY CHARLES BERNSTEIN, 2015
4 color prints, each 56 x 41,5 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf
all images: AURELIEN MOLE
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NATALIE CZECH: One can’t have it both ways and both ways is the only way I want it. is currently on view at the Crac in Altkirch. The solo exhibition reveals, over the two floors of the Art Centre, a latent reality thanks to several conceptual photographic series such as Hidden Poems (2010-2012), Poems by Repetition (2013-2016), Il pleut by Guillaume Apollinaire (2012), Voyelles (2013), Critics’ Bouquets (2015) and most recently To [Icon], (2015-2016). All of those works posit the existence of texts and images floating around on everyday objects and existing print materials that CZECH collides and bounces with each others.
My works propose different spaces and different entry levels, and allow various forms of perception and interaction. By this, I mean a space in between, which is difficult to define, one that touches a simultaneous reading and seeing in pieces or fragments and allows space for different associations. Since I see no hierarchy between the poem, the surrounding text, and the picture, I am rather interested in the similarities in their creative processes and in activating the boundaries of their respective mediums. What are the photographer and the writer able to do and where are the interfaces or superimpositions?. – NATALIE CZECH for Bomb Magazine, October 2014
Since the very act of reading is nothing but the word-by-word mental restitution of a text through a series of snapshots, her body of work that fuses written words and images coexisting yet separated from each other in some fashion, leads the viewer into infinitely loopable images.
One can’t have it both ways and both ways is the only way I want it. by NATALIE CZECH is on view at Crac Alsace, Altkirch until September 18, 2016.
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Source: http://www.we-find-wildness.com/2016/07/natalie-czech-one-cant-have-it-both-ways-and-both-ways-is-the-only-way-i-want-it/
