-scope New York
Solo Show featuring Victoria Campillo

Art Fair Booth#32

Run Dates: March 4th-8th 2009

Opening Reception: Wednesday March 4th, 3-9pm

-scope New York
Lincoln Center Damrosch Park 62nd Street and Amsterdam (10th Avenue) New York, NY 10023

For additional information, a price list, hi-rez images, and/or an artist press kit, please contact us.

CTS is proud to announce the solo presentation entitled Intimacy by artist Victoria Campillo for the -scope New York art fair. We will also have on view works by Jack Balas, The Fantastic Nobodies, Alexander Reyna, Eric Doeringer, and Fernando Montiel Klint

Victoria Campillo is a kind of mad scientist; best described as an amalgam of photographic artist, art historian, and satirist all working in chorus to create her numerous series of photographs. Working at a frenetic pace, she produces hundreds of photos while presenting dizzying arrangements that concurrently tackle themes ranging from associating specific imagery with individual artists to the often-overlooked dominance of the male artist in modern and contemporary art, especially in her series Intimacy (2001.) Aside from this, her recent series of work, including the aforementioned as well as Last Supper (2008) and Kids (2005,) is based on a repetitive motif, with a seemingly limitless prospect of variation in color, texture, and context. She develops her work around the concept of art itself, delving into the systems, power structures, and visual vocabulary inherent within the viewer’s established knowledge of the artists, as well as periods, which she depicts using a vernacular of objects and clothing.

When conceptualizing a series, Campillo begins with an intensive amount of research. She gathers materials to photograph in flea markets, shops, friends’ homes, or, in effect, anywhere she can. As a passionate collector of everyday items, such as the little pigs or toy houses featured in her photographs, Campillo is attracted to objects that exist in great quantities while holding symbolic significance. In a sense she is a collector of artists as well, eagerly seeking out new artists to enjoy and utilize in her work. Often acquiring many more objects than needed for a particular series, Campillo chooses those that best convey the desired association with a given artist. She subsequently manipulates them either physically or digitally to further capture her intentions. She then compiles and arranges the final selections in an orderly pantone that fuses minimalist decoration with deeper psychological associations that the viewer holds both with the content of the piece and with the artist named. One could say the collective knowledge of these artists is the canvas upon which she frames her content. In this way, the series are self-consciously produced for the ‘art savvy.’ Establishing the relationship between the mind and eye in categorization and identification on quite a foundational level, she presses the viewer to make a split-second association with the archetypical portrayal of a given artist’s personality and work. It begs the question: Precisely what defines these great artistic personas? Moreover, how can Campillo, as an artist herself, alter and add to their well-established diction?

Other questions that arise in the course of answering those above center around Campillo’s effectiveness in portraying these great artists. How subtle or direct ought she be? Is one’s interpretation of a photograph dependent on the affection one holds for a particular artist or the ‘general’ agreement that Campillo accurately depicts that given artist? For instance, the depictions of, say, Jackson Pollock and Piet Mondrian in her series Intimacy are not very subtle yet are explicable because they reference a large, and one could say most popularly known, body of the two artists’ work (a pair of paint spattered pants, for Pollock, and a reference to grid-based painting, for Mondrian.)

On the other hand, the depiction of Edgar Degas or even Henri Matisse references a single work (Degas’ Little Dancer of Fourteen Years) or a small body of their work (the final period of

  Installation View: scope new York, New York, NY. 2009
Image courtesy of {CTS} creative thriftshop, New York
Installation View: scope new York, New York, NY. 2009
Image courtesy of {CTS} creative thriftshop, New York
Installation View: scope new York, New York, NY. 2009
Image courtesy of {CTS} creative thriftshop, New York
  Victoria Campillo, Series Intimacy (094 Robert Mapplethorpe), 2006, lambda print, edition of 3, 19x24in (48x60cm)
Image courtesy of {CTS} creative thriftshop, New York

Matisse’s painting,) pushing the viewer to dismiss the work either out of unawareness of that specific work or out of a great familiarity with a given artist’s broader corpus.The interplay between Campillo’s and the viewer’s knowledge of a given artist, the affection one holds for a given artist’s work, and the subtlety or bluntness of Campillo’s presentation of that artist are all important to the reception of her work. Even if one does not agree with her depiction of an artist, their reference itself conjures up one’s own knowledge of that artist’s personality and work to compare with Campillo’s impression.

This onslaught of referential material also serves to obfuscate the overall aesthetic and intent of her series, Intimacy (2001), where she uses a chromatically arranged series of a male’s midsection in various garb to both “find the relation of a hundred or so contemporary artists with a piece of clothing” as well as “to satirize the patriarchy of the art world and the system which has often refused to recognize the female artist.”1 In that sense, this series relates to postmodern conceptions of feminism, where power is exercised not only through direct coercion, but also through the way in which certain language (in this case, that of art) shapes and restricts our reality. However, because language is always open to re-interpretation, it can also be used to resist this shaping and restriction, and so is a potentially fruitful site of political struggle.

Through her use of tongue-in-cheek antics, chromatically arranged series, and repetition, this Barcelona-based artist manages to trick our eye, amuse our mind, and address flashpoint issues in contemporary art. Though having only exhibited in North America on one other occasion (Onward Art, presented by CTS at ~scopeMiami 2008,) Victoria Campillo has carved out a new dialogue that reassesses and manipulates our conceptions about the modern and contemporary art world.


With the support of CTS and Ego gallery a full color, 50 page catalogue has been produced for this exhibition. Please click here or contact the gallery for purchase.

about the gallery: CTS is quality art on the move. Championing provocative content driven work by local and international mid-career, underrepresented, and emerging artists in all media. Our goal is to build an infrastructure that knows no boundaries, one that carries the torch of modernism acting as a vehicle for dreamers, a cultural meeting place for great minds, an international community of interconnectivity and expandability. CTS exhibitions and artist have been touted in many local and international publications, including The New York Times, La Republica, Miami Herald, The Chicago Tribune, Art Nexus, Art Review, Art in America, Art Forum, Flash Art, NYarts Magazine, Lmagazine, Flavor Pill, Miami Art Guide, Artnet, Art Info and TimeOut New York.

about the artfair:
-scope New York, an invitation only edition of SCOPE art fairs, proudly returns to Manhattan's most famous cultural icon, Lincoln Center, with a glass facade pavilion situated in Lincoln Center's Damrosch Park. Introducing artists, curators, and cutting-edge galleries to new audiences internationally has made SCOPE the most comprehensive destination for the emerging art world available anywhere.

Victoria Campillo, Series Intimacy (002 Brice Marden), 2006, lambda print, edition of 3, 19x24in (48x60cm)
Image courtesy of {CTS} creative thriftshop, New York
about the artist: What began 10 years ago as party antics and costume wearing over the course of a decade via relentless Bush Era disillusionment became a highly developed and unique artistic language, if not a cult of urban legend. The Fantastic Nobodies are a cast of performance characters who have collaborated together to create remarkable fusions of art and life. Acting as reflective mirrors for each other’s creativity, the collective has fostered great breadth of production including: performance, infiltrations, social sculptures, situations, happenings, road-trips, cooking, photography, installations, video, music, poetry, painting, and drawing.

about the artist: From the sidewalks of Chelsea to private collections, Eric Doeringer's deviant appropriations would be at home in either locale. Belying the order of the art institution, the Brooklyn based artist exploits the iconic imagery of his contemporaries. Notably in his series Bootleg, Doeringer aligns himself with artists and aesthetic satirists who dispel the myths of social hierarchy to unveil disorder and subvert systems. By denouncing authorship through reproduction and imitation, Doeringer mocks the designation of value within the intercaheable margins of hi and low culture. With an MFA from the School of the Museum of Fine Arts Boston, Doeringer has exhibited in various distinguished shows including the Alrbight College and the Museo de Arte Contemporaneo De Castilla Y Leon in Spain.

about the artist: This is Victoria Campillo first solo presentation in the United States. She lives and works in Barcelona, Spain. Her career began in the mid-nineteen eighties, having shown her work at galleries, museums and fairs throughout Spain and across Europe, including in France, Germany, Austria, Switzerland, Holland, and Turkey. Though having shown in North America for the first time in 2008 (-scope Miami,) she has been featured at the Atirum Musuem in Vitoria, Spain (No More Heroes, 2008,) as well as the Cultural Center for the Delegation of Malaga (Intimacy, 2003.) She is also featured in the private collections of both Ordenez Falcon and Luis Adelantado. She has also fetched much press coverage, including in La Vanguardia, El Pais, and ABC Cultural.

about the artist:
Jack Balas is interested in recontextualizing images of men in a variety of emotional, political and stylistic scenarios -- contexts in which they function as everyman, but are more vulnerable than their surface perfection might suggest. Born in Chicago in 1955, Jack Balas received his BFA and MFA from Northern Illinois University, DeKalb. He was awarded a National Endowment for the Arts Individual Fellowship in Painting in 1995. His work is in the permanent collections of the Brooklyn Museum, New York City; the San Francisco Museum of Modern Art; and the Tucson Museum of Art, among others. A portfolio of his paintings, "Today I Drove Along the Rio Grande," was published in The Paris Review (New York). His most recent museum solo was his 2008 project "We'll Be Seeing You" at the Museum of Contemporary Art, Denver.

about the artist: Alexander Reyna is inspired by the banal as much as he is by the profound. One 20th century argument about art’s relationship to contemporary culture proposes that ar stands at the forefront of culture and works against kitsch. His work deals explicitly with our relationship with mass media and corporatized imagery. Zander has taught for several years in the B.F.A. program at the School of Visual Arts as well as, more recently, in the Master's program at New York University. He is an Assistant Professor at Mercy College. Alexander Reyna received his BFA from University of New Hampshire and his MFA from Pratt Institute.
Jack Balas, Get It Licked (from the Hard to Figure Series) 2009, watercolor and ink on paper, 23x15in (59x38cm)
Image courtesy of {CTS} creative thriftshop, New York

Jack Balas, Bridge (from the Hard to Figure Series) 2009, watercolor and ink on paper, 23x15in (59x38cm)
Image courtesy of {CTS} creative thriftshop, New York
  Fantastic Nobodies, The Living Frame, an archival digital print suite based on group performance. archival digital print suite, total of 25 images in box set, edition of 10, 11x14in (28x36cm) Image courtesy of {CTS} creative thriftshop, New York Fantastic Nobodies, Art & Cash, 2008, video, HD SD Version, 5:39.
Director Codec of Pfadfinderei. A Pfadtastic Modebodies production
Image courtesy of {CTS} creative thriftshop, New York
  Eric Doeringer, Bootleg Series (Julian Opie) 2005-08, ink on canvas, 8x10in (20x25cm)
Image courtesy of {CTS} creative thriftshop, New York

Eric Doeringer, Bootleg Series (On Kawara) 2005-08, ink and acrylic on canvas, 5x7in (13x18cm)

Image courtesy of {CTS} creative thriftshop, New York
Alexander Reyna, Star [0690], 2007, 03-21-00 HD video with audio, 25-25 mg, DVD and HDDVD (Blue Ray) format
Image courtesy of {CTS} creative thriftshop, New York