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Karl Haendel Exhibition in New York Investigates Relations Between Evolution and Devolution in a Series of Amazing Drawing Installations

  • karl haendel exhibition view exhibitions works installation contact work
October 22, 2015
Passionate about art, frequent visitor of exhibitions, Widewalls photography specialist.

Is our evolution our devolution? Or better yet – is our devolution our evolution? According to Karl Haendel, it’s both these things, as we can witness too by exploring his latest exhibition entitled Organic Bedfellow, Feral Othello, to be hosted by New York’s Mitchell-Innes & Nash. Through large, masterfully executed drawings set within a monochromatic installation, the Los Angeles-based creative takes humanity back to its roots, in order to better understand its development through time, keeping in touch with the present at the same time.

karl haendel exhibition view exhibitions works installation view exhibitions installation angeles projects museum 2014 susanne work
Karl Haendel – Radcliffe (DY2), 2015. Pencil on paper with shaped frame, 67.5 x 89.5in

A View of Organic Bedfellow, Feral Othello

Known for his use of everyday life images, American artist Karl Haendel often deals with the topics of consumerism, production, transformation. His work often contains juxtaposed narratives which tackle hypocrisy within contemporary society, and the changes its revolution has introduced. In his latest drawings, he examines them through little daily moments, pointing out that some things remained constant through history, such as hunger, thirst, breathing. Karl Haendel’s artworks show couples trapped within polygonal and irregular geometrical shapes, engaging in apparent yoga positions to demonstrate transformation and assimilation.

karl haendel exhibition view exhibitions works installation view exhibitions installation angeles projects museum 2014 susanne work
Karl Haendel – Marginal (DY11), 2015. Pencil on paper on shaped frame, 35 x 66.5in

Works of the (D)Evolution

It’s not only through the means of traditional drawings and art-making that Karl Haendel looks to express his views, as in this exhibition, he will take us on a multimedia journey of discoveries. On the gallery’s floor, he will use the digital technology by scattering checkered patterns and polygonal bases of still life drawings with hand-drawn QR codes. These codes will link to a curated selection of YouTube videos chronicling physical transformation, such as weight loss or sex change. Furthermore, he created his own syntactical visual system composed of rhyme, mathematical symbols and alliteration, which are subsequently linked to the imagery within his artworks’, their title and the QR code/the video related to it. As an example, there is Neither a Subset of Nor Equal to, Booster, Straps, Flat to Boobs, where the “⊈” symbol stands against visual elements like a testosterone booster, work-out straps, as well as a QR code taking us to a video of a woman reviewing her breast enlargement surgery.

karl haendel exhibition view exhibitions works installation view exhibitions installation angeles projects museum 2014 susanne work
Karl Haendel – Inter-Entity (DY 13), 2015. Pencil on paper with shaped frame, 45 x 55in

Karl Haendel Exhibition at Mitchell-Innes & Nash

Karl Haendel’s works, thus, tell the story of a man’s interaction with nature and culture, of the things that changed and that remained the same, the human tendency to categorize personal expression and our relationship with ourselves and the world around us. As if that’s not enough, his impeccable photorealism puts the viewers in awe of his incredible skills.

Organic Bedfellow, Feral Othello is the name of the Karl Haendel exhibition that will be on view at Mitchell-Innes & Nash in New York City, USA. The opening reception is scheduled for October 22nd from 6pm to 8pm at the gallery in Chelsea, and the show will run through December 5th, 2015.

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Featured images in slider: Durand (DY7), 2015. Pencil on paper with shaped frame, 39.5 x 64in; Mason-Dixon (DY1), 2015. Pencil on paper with shaped frame, 40 x 104in; Order-Neisse (DY4), 2015. Pencil on paper with shaped frame, 75 x 60.5in. All images courtesy of Mitchell-Innes & Nash.