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Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Glass, EPS, EPS foam, drywall, paint, resin, shattered ceramic. Photo Credit: Carlos Avendaño  Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Columns, 2012 (front). Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Columns, 2012 (front). Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Hollow Figure, 2012. Aqua resin, fiberglass, epoxy. Photo Credit: Carlos Avendaño  Left: Daniel Arsham. Photographer: Guillaume ZiccarelliRight: Corner Knot, 2008. Fiberglass, paint, joint compound. Dimensions variable. Courtesy the artist and Galerie Perrotin, Paris
Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Glass, EPS, EPS foam, drywall, paint, resin, shattered ceramic. Photo Credit: Carlos Avendaño 
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Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño
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Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Columns, 2012 (front). Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño
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Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Columns, 2012 (front). Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño
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Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Installation view, 2012. Glass, EPS, drywall, paint. Storm, 2012 (back). Glass, resin, EPS, lighting fixtures, fans, musical score. Photo Credit: Carlos Avendaño
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Daniel Arsham, in collaboration with The Fabric Workshop and Museum, Philadelphia. Hollow Figure, 2012. Aqua resin, fiberglass, epoxy. Photo Credit: Carlos Avendaño 
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Left: Daniel Arsham. Photographer: Guillaume Ziccarelli
Right: Corner Knot, 2008. Fiberglass, paint, joint compound. Dimensions variable. Courtesy the artist and Galerie Perrotin, Paris
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Daniel Arsham:

Reach Ruin

December 14, 2012–Mid-March 2013

Opening Reception:

Friday, December 14, 2012, 6-9 pm


Performance and Reception:

Daniel Arsham X Jonah Bokaer: Study for Occupant
Friday, December 14 at 5:30 pm, Members Preview
Saturday, December 15 at 6 pm
Sunday, December 16 at 2 pm

Limited seating, reservations encouraged
Please RSVP to michele@fabricworkshopandmuseum.org or call 215-561-8888       


“In the arts today, audiences are demanding to be more engaged. Arsham’s work will do that by pushing the definitions of the visual and performing arts, bringing the audience into both the sculptures and performance," said Dennis Scholl, Knight Foundation's Vice President/Arts.

Connecting the lines between art, architecture, dance, and theater, Daniel Arsham mines everyday experience for opportunities to confuse and confound our expectations of space and form. Arsham is known for subverting existing architectural structures in unconventional, playful ways: façades appear to billow in the wind, figures seem wrapped beneath the wall’s surface. His cross-disciplinary practice, historical inquiry, and satirical wit combine into an ongoing interrogation of the real and the imagined. 

This exhibition and performances are made possible through the generous support of the John S. and James L. Knight Foundation, as part of its Knight Arts Challenge. Additional support from the National Endowment for the Arts, the LLWW Foundation, and the Board of Directors and Members of The Fabric Workshop and Museum.



Bio

American, born 1980 Cleveland, Ohio
Daniel Arsham graduated from Cooper Union and received the Gelman Trust Fellowship Award in 2003. In 2004, he participated in the group show Miami Nice at Galerie Emmanuel Perrotin in Paris, which began representing Arsham in 2005. As one of the founders of the seminal Miami artist-run space The House, his interest in multi-disciplinary artist collaborations began early. Legendary choreographer Merce Cunningham asked Arsham to create the stage design for his work eyeSpace in 2007. Following this project, Arsham began designing for the Merce Cunningham Dance Company for performances in Australia, France, and multiple locations in the United States. In 2011, Arsham created the set for the final three performances of Cunningham's legacy tour at the Park Avenue Armory. Despite never being trained in stage design, he has continued this practice, collaborating with Robert Wilson as well as Jonah Bokaer, a former Cunningham dancer. Arsham’s ongoing work with Bokaer includes REPLICA, which has been performed at such esteemed venues as The New Museum in New York; Instituto Valenciano de Arte Moderno in Valencia, Spain, and The Hellenic Festival in Athens, Greece. His most recent collaboration with Bokaer, titled RECESS, had its world premiere at Jacobs Pillow Dance Festival in 2011. Arsham and Bokaer will present a new collaboration with David Hallberg at Le Festival d'Avignon in France in July 2012, followed by another premiere at Jacob's Pillow Dance Festival in August. To further explore the possibilities of spatial manipulation, Arsham founded Snarkitecture in 2007 with partner Alex Mustonen to operate in territories between the disciplines of art and architecture. Their imaginative practice recently won the commission to create two large public artworks for Miamiʼs new Florida Marlins ballpark, which opened in April 2012.