Eight photomechanical transfers on PMT paper in cloth-bound
45 x 60 cm each
Printed by Matthew Engers, Brooklyn
This series of comic-book spreads tells a collection of true stories gathered from the New York art scene in the 1990s. The work analyzes the mutability of value of a commodity—art—that moves through a commercial system where the scales of use-value that characterize other commodities do not apply. An artwork’s ambiguous use and value leaves it open to unstructured speculation as it moves from the studio to the gallery to the collection. These ambiguous zones of the market make up the terrain of the Crime Stories.
Project for USTED
Terence Gower and Lila Zemborain
Offset book, printed in three editions
21x 14.4 x 0.5 cm
Published by Ediciones Ultimo Reino, Buenos Aires
How much does a reader’s mental image of the author influence the content of a book? From a series of works on the concept of authorship in contemporary art and literature, Project for USTED consists in the cover design for a collection of poetry (title: USTED) by Argentine poet Lila Zemborain. The book’s edition was broken into three printings and each of the three groups’ back covers were printed with a different author’s photograph, taken at different points in Zemborain’s life. The three photographs could be of different authors, a metaphor for the changes to an artist’s work as they move through the phases of their life.
Documentation: Views, details; line and colour studies
Steel, glass, vinyl, enamel
4.8 x 18 x 1.8 M
Commissioned by Patricia Martín
Produced by Hector Zamora
Permanently installed on the grounds of the Colección/Fundación Jumex, Mexico City
Photography Francisco Kochen and Jorge del Olmo
The Bicycle Pavilion
The Bicycle Pavilion measures 18.05 metres long by 4.8 metres high by 1.8 metres wide. It is made of enameled steel and vinyl-coated glass panels. It was commissioned by the Colección/Fundación Jumex and is permanently installed in the grounds of their factory compound on the outskirts of Mexico City. The work is an interface between the Jumex factory and the Jumex art collection and is welded to the fence that separates the employee and visitor parking lot from the truck yard of the factory’s shipping department. The upper walkway is a mirador offering views over the factory grounds and the lower level is a bike shed used by factory employees who come to work by bicycle.
The Architecture of Shops
Video excerpt, stills
Digital Video | Video digital: 4:20 minutes
Text and Images: The Architecture of Shops (A. Trystan Edwards. Chapman & Hall, London, 1931)
Edit: Anita Chao
Voice: Brian Nissen, recorded at Echo Canyon, New York
Sound Engineer: Aaron Mullan.
Titles: Julieta Aranda
In this video work a narrator gives the viewer an introductory course on shop design and product display. The video presents six black and white images of London shop interiors from the 1920s accompanied by a voice-over “lecture”. The narrator (text and images are from A. Trystan Edwards’ The Architecture of Shops. London: Chapman & Hall, 1931) spends much time analyzing an image of a Harrods store display where a fan of umbrellas is considered particularly problematic: “Remember, a marked symmetry or formality in the arrangement of the goods may easily be overdone.” But it is pre-cisely this outrageous display that has been painstakingly recreated as a sculpture (see Display VII), to be shown alongside the video.
Digital print on vinyl
275 x 366 cm
The photograph is a mural-sized print of Mexico City’s Polytechnic Institute Complex (1964). Reproduced from a period publication, this black and white photograph freezes these buildings in the year of their construction. The image captures a sense of functional clarity in the buildings portrayed. The stacked class-rooms of the Mexico City Polytechnic, raised on pilotis, stand in rows like display cases in a museum, their functional system of support and slab exposed to the viewer like the contents of a vitrine. Functionalism has been shown as an outdoor installation in Mexico City and Havana and as an indoor work in Boston and Los Angeles.
Display Modern II
12 digital prints
14.25 x 11.22 inches each
1 AP, Edition 1/5, 2 APs
In the photo series Display Modern II (Hepworth), I am photographed build-ing a cardboard copy of Hepworth’s Single Form, a massive bronze created for the forecourt of the United Nations Building in Manhattan. This work subtracts the urban context and material weight of Hepworth’s original in an experiment which tests the potential for pure form to act as a container for modernist ideas of social progress.
HD Video. 17'
Red oak, triplay, copper
265 x 171 x 40cm
Sculpture Prop 1
With base: 31.5 x 37 x 116 cm; without base: 31.5 x 37 x 37 cm
Enamel and acrylic polymer on polystyrene on wood
Aluminium, stainless steel hardware
60 x 342cm
of 5 strings each
Political Services 4
Impression of pigments and collage
86.36 x 60.96 cm
Lives and works between New York City, France and Mexico.
A desire to reexamine the notion of progress—a term corrupted by the excesses of technological modernism—runs through Terence Gower ́s practice. His works are dialogues between architecture and art, investigating the ideas of form, modernity, abstraction, and the artist’s persona.
Gower works in a variety of media including video, sculpture, drawing, installation, and architecture. He works on a number of bodies of work concurrently, often in development for a number of years. Many of his recent projects have been what Gower calls “curatorial installations” combining video, sculpture, artworks by other artists and archival material in large museum installations that offer the viewer distinct access points to the subject under study.