Elevator to the Gallows
20 Mar - 03 May 2009
Banks Violette
lines of wreckage (into the light), Detail, 2004
Zabludowicz Collection © der Künstler / the artist
lines of wreckage (into the light), Detail, 2004
Zabludowicz Collection © der Künstler / the artist
ELEVATOR TO THE GALLOWS
Banks Violette & Miles Davis, Dashiell Hammett, John Huston, Weegee
March 20th - May 03rd, 2009
KUNSTHALLE wien, hall 1,
'Elevator to the Gallows' is situated in the existential “twilight zone” where lie and truth, crime and justice, sexual excess and bourgeois morals fray and reorganize to form new social parallel universes. The exhibition is aimed at measuring the noir complex in its contradictions and in its fatal seductive charm across the genres of art (Banks Violette, Weegee), literature (Dashiell Hammett), film (John Huston), and music (Miles Davis).
In his sculptural works and installations, the young New York artist and curator of the exhibition Banks Violette takes up several aspects of this noir tradition. Yet he transfers these into the milieu of the last two decades’ black romantic youth cultures like Black Metal or Neo Goth and focuses on the aestheticization of “the evil” as a thoroughly American phenomenon that still exerts its influence.
Curators: Banks Violette, Gerald Matt
Banks Violette & Miles Davis, Dashiell Hammett, John Huston, Weegee
March 20th - May 03rd, 2009
KUNSTHALLE wien, hall 1,
'Elevator to the Gallows' is situated in the existential “twilight zone” where lie and truth, crime and justice, sexual excess and bourgeois morals fray and reorganize to form new social parallel universes. The exhibition is aimed at measuring the noir complex in its contradictions and in its fatal seductive charm across the genres of art (Banks Violette, Weegee), literature (Dashiell Hammett), film (John Huston), and music (Miles Davis).
In his sculptural works and installations, the young New York artist and curator of the exhibition Banks Violette takes up several aspects of this noir tradition. Yet he transfers these into the milieu of the last two decades’ black romantic youth cultures like Black Metal or Neo Goth and focuses on the aestheticization of “the evil” as a thoroughly American phenomenon that still exerts its influence.
Curators: Banks Violette, Gerald Matt