ODEON: Uri Aran, Darren Bader, Ara Dymond
Apr 30 - Jun 13, 2009



Evocation of the muse: ____! _______! ________!

Example # 1: Edgar Cayce, Númenorian:

“In early 1925, British Colonel Percy Harrison Fawcett, having convinced himself, based on a mix of archival research, deduction and clairvoyance, that a large undiscovered city lay hidden somewhere in the Amazon, entered the jungle to try to find it.” Fawcett called this city Z. He was never heard from again.

Example # 2: “One day, the fierce wolf that walks by my side will spring on you and rip your abominable guts out.”

—Twin boys, one wolf.
—Or: one artist, one wolf, one world.
—In England, this is best translated: An Old Boy is worth two young men.

You see? Three means: the ring of invisibility; the mirror of desire. The ocean in-between.

Shantih, shantih, shantih, or

Hush        Caution       Echoland
David Lewis

Ritter/Zamet is pleased to announce Odeon, the inaugural show at the new venue in Whitechapel.  
Within the intimate frame of a perfect square space designed by Kieren Reed, three New York-based artists and friends, Uri Aran, Darren Bader and Ara Dymond, will present artworks that both engage with the distinctive limits of the gallery architecture and generate an inter-relational dialogue amongst themselves. Bound by their capacity to transform the seemingly arbitrary into fine art, the three artists will each present two works.
Uri Aran uses combinations of haphazard materials as signifiers of a complex visual language and personal history. Liam Gillick writes in Art Review, “Often deploying a combination of dry narrative and lush imagery, Aran’s artwork is undermined by his own constructions, which can be read as devastated landscapes where a loss of logic mirrors the sense of a set of promises that are currently unfulfilled.” In Odeon, Aran will present a sculpture and an untitled video piece that explores repetition and the subsequent manipulation of meaning.  
Darren Bader’s artwork can be defined by its abject humour, elegant eccentricity, and, as coined by Roberta Smith in the New York Times, “ostentatious ambivalence.” Bader randomly alternates between capsizing long held tenets and expectations that abound in the artworld, and waxing poetic over anything and everything.  He uses writing and found objects as sculptural media, and often shows his work in book form.  Here he will present a sculpture and a painting.

Ara Dymond’s work is predicated on the dissolution of the individual into an empty exchange of prefabricated identities. Dymond works in sculpture, photography, and found video, and often transforms everyday objects into graceful, esoteric forms. His sculptures sometimes use light industrial substances such as vinyl laminate, automotive paint and builders’ sand to bring to presence the inherent lyricism of things. Odeon features a sculpture and a photograph by Dymond.