
A SMALL GESTURE, 2012 – 2013, 60 x 48 cm, Archival ink printing

BROTHERS, 2012 – 2013, 112 x 87 cm, Archival ink printing

CASH, 2012 – 2013, 112 x 87 cm, Archival ink printing

ELMO, 2012 – 2013, 112 x 87 cm, Archival ink printing

FLASH CRASH, 2012 – 2013, 51 x 43 cm, Archival ink printing

GLOBAL PALLOR, 2012 – 2013, 60 x 48 cm, Archival ink printing

GOLDEN CALF, 2012 – 201, 112 x 87 cm, Archival ink printing

GREASING THE GAME, 2012 – 2013, 112 x 87 cm, Archival ink printing

GREEK ACCENTS, 2012 – 2013, 60 x 48 cm, Archival ink printing

HOT FLASHES, 2012 – 2013, 112 x 87 cm, Archival ink printing

JUST LIKE ME, 2012 – 2013, 112 x 87 cm, Archival ink printing

KHRUSHCHEVS SHOE, 2012 – 2013, 112 x 87 cm, Archival ink printing

MARX, 2012 – 2013, 112 x 87 cm, Archival ink printing

MAY ´68, 2012 – 2013, 112 x 87 cm, Archival ink printing

MEGAPHONES, 2012 – 2013, 60 x 48 cm, Archival ink printing

MIRACLE, 2012 – 2013, 60 x 48 cm, Archival ink printing

MYSTERIES, 2012 – 2013, 112 x 87 cm, Archival ink printing

NUMERIC PROPHECY , 2012 – 2013, 112 x 87 cm, Archival ink printing

SWALLOW (OCCUPY ANNEX), 2012 – 2013, 112 x 87 cm, Archival ink printing

ONCE, 2012 – 2013, 60 x 48 cm , Archival ink printing

PASOLINI, 2012 – 2013, 112 x 87 cm, Archival ink printing

PAY TO END IT,2012 – 2013, 112 x 87 cm, Archival ink printing

PETER, 2012 – 2013, 60 x 48 cm, Archival ink printing

POLANSKI REDECORATING UNDER HOUSE ARREST, 2012 – 2013, 112 x 87 cm , Archival ink printing

REHEARSING, 2012 – 2013,112 x 87 cm, Archival ink printing

RETURNED,2 012 – 2013, 60 x 48 cm, Archival ink printing

ROCK SCISSORS PAPER, 2012 – 2013, 112 x 87 cm, Archival ink printing

ROTTEN FRUIT, 2012 – 2013, 60 x 48 cm, Archival ink printing

SATISFIED PRISONER, 2012 – 2013, 60 x 48 cm, Archival ink printing

STARTLED, 2012 – 2013, 60 x 48 cm, Archival ink printing

TALKING BACK, 2012 – 2013, 112 x 87 cm, Archival ink printing

TELL, 2012 – 2013,112 x 87 cm, Archival ink printing

THE BAUHAUS, 2012 – 2013, 112 x 87 cm, Archival ink printing

THE CHAMELEON, 2012 – 2013, 112 x 87 cm, Archival ink printing

THE LAST HIDING WITH THE FIRST, 2012 – 2013, 112 x 87 cm, Archival ink printing

THE LOSERS, 2012 – 2013, 112 x 87 cm, Archival ink printing

THE SAINTS TO BET ON, 2012 – 2013, 112 x 87 cm, Archival ink printing

THE WAY OUT, 2012 – 2013, 112 x 87 cm, Archival ink printing

THE LITTLE PIGGY, 2012 – 2013, 60 x 48 cm, Archival ink printing

UNDER HAWKER´S BLANKET, 2012 – 2013, 112 x 87 cm, Archival ink printing

SO BAD, 2012 – 2013, 112 x 87 cm, Archival ink printing

WE PAY CASH, 2012 – 2013, 112 x 87 cm, Archival ink printing

WHAT THE WORLD REALLY NEEDS, 2012 – 2013, 112 x 87 cm, Archival ink printing

ZARATUSTRA, 2012 – 2013, 51 x 43 cm, Archival ink printing

MALRAUX´S SHOES, Video Still, 2012, Single channel video, 42 minutes

MALRAUX´S SHOES, Video Still, 2012, Single channel video, 42 minutes

MALRAUX´S SHOES, Video Still, 2012, Single channel video, 42 minutes

MALRAUX´S SHOES, Video Still, 2012, Single channel video, 42 minutes

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013

Exhibition View. In the Red, 2013
Information
The Moises Pérez de Albéniz Gallery holds, from the 16th of November, the solo exhibition of the American artist Dennis Adams (Des Moines, Iowa. 1948). The exhibition, entitled IN THE RED, brings together 45 works in an installation conceived for the gallery space and which will be displayed together with his recent video production “Malraux’s shoes” (2012). IN THE RED is an American expression derived from the bookkeeping practice of using red ink to record net losses. Adams adopts this expression for the title of his exhibition to mark the fragile link between the global financial recession of the last five years and more subjective accountings of loss. By layering variations of the physical color red with its metaphoric connotations, Adams sets up a double bind between perception and language.
In his new video work, Malraux’s Shoes, Dennis Adams masquerades as André Malraux (1901–1976), the French writer, adventurer, Resistance fighter, cultural provocateur, art theorist, orator, statesman, and passionate archivist of the world history of art. Malraux’s arrest at age twenty-one by French colonial authorities in Cambodia for stealing bas-reliefs from a Khmer temple is an early testament to what would become his obsessive sampling of visual art from diverse cultures. The set for Malraux’s Shoes is a reconstruction of the iconic photograph of Malraux standing in his study with the plates of his book The Imaginary Museum of World Sculpture laid out on the floor before him. Adams literally steps into Malraux’s shoes, suit, and style and we see the Malraux character walk on and over the images as we overhear his interior monologue, which is interrupted by outbursts of mutterings and ravings. Over the course of the video the subject of the monologue moves freely between Malraux’s time and the present.
Dennis Adams is internationally recognized for his public interventions and museum installations that address the processes of collective memory and social control in the design and use of architecture and public space. He has produced public projects in Austria, Canada, Denmark, England, France, Germany, Ireland, Israel, Spain, The Netherlands, Switzerland, and the United States. His work has been the subject of over 50 solo exhibitions in museums and galleries throughout North America and Europe. In 1994, two separate retrospectives of his work were held at the Museum van Hedengdaagse Kunst Antwerpen and the Contemporary Arts Museum in Houston. Adams was represented in the 2000 Whitney Biennial and he has been a faculty member or Visiting Professor at numerous institutions including MIT, Parsons School of Design, Ecole Nationale Superieure des Beaux-Arts, Paris, Rijksakademie van Beeldende Kunsten, Amsterdam and the Akademie der Bildenden Künste, Munich. He currently teaches 3-Dimensional Design, Sculpture, and the Public Art seminar at The Cooper Union School of Art in New York.
His work is included in major public collections including the MOMA, Whitney Museum of American Art, Museum van Hedendaagse Kunst, Antwerp; Fotomusem Winterthur, Fonds National d’Art Contemporain, Museum of Modern Art in Chicago or the Walker Art Center, among others.