Lisson Gallery is proud to announce Ryan Gander’s exhibition, Esperluette at the Palais de Tokyo, Paris, from 28 September 2012 to 7 January 2013. This is part of the Palais de Tokyo’s recurring programme Bibliothèques d’artiste, which invites artists to display the implicit connections in their mental universe.
Gander, whose current exhibition at The Fallout of Living continues at Lisson Gallery, London, until 24 August 2012, will inaugurate the programme with the installation Ampersand (2012) – the English word for “esperluette”. Coinciding with the show at the Palais de Tokyo, Gander will also release the book Ampersand – Notes on a Collection, to be published September 2012 by Dent-De-Leone, London.
Ampersand presents the viewer with a giant white cube, closed and impenetrable. A small opening permits the viewer to stealthily observe a scrolling series of objects on a conveyor belt. These objects taken from everyday life, ordinary and insignificant, come from Ryan Gander’s personal collection. A total of more than 60 elements are presented, including Albers Fire Bricks and French Roof Tiles, An Amazon Box, Jobs’ Keyboard, a Leica M9, Smoked Vodka, Sound Effect Props, Spray Paint and a Stab Vest amongst other diverse paraphernalia.
The installation recalls cinematic experience, with the effect of each object dependent on
its relative position in the sequence. Each sequence unfolds like an episode in a story
running non-stop. Movements, scrollings, changes of viewpoint: all the tricks of editing and
staging are thus brought into play. Taken as a whole, the slide show of objects invites the
viewer to reconstruct Gander’s curious collection of objects while envisaging their
significance, be it cultural, historical, financial, or personal.
In addition to Ampersand, Gander will show several other bodies of work. These include
four ‘ghost templates’, part of a series of works of which several are currently on display
at Lisson Gallery. The works in the exhibition are all based on a system with multiple
references, a puzzle. The sound installation, self-service posters, and central installation all
form fragments of a framed story. Gander has long been fascinated with the association of
ideas, as in the cycle of lecture-performances he has been developing since 2002, entitled