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Solo show: Mark Hosking (over)

15 September 2004 until 23 October 2004
  Mark Hosking
Mark Hosking, Shoe Morse, 2004
  Lisson Gallery

Lisson Gallery
29 & 52-54 Bell Street
London NW1 5DA
United Kingdom (city map)

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at Lisson New Space

Mark Hosking
's sculptural work is often described through narrative. Objects, remade and transformed by the artist, are seen as the residues of scenarios of self-preservation and redemption from adverse and unexpected situations or disasters. Another dimension to Hosking's practice rebels against the fixed status assigned to objects within western consumer society through challenging their former use-value. At Lisson New Space Hosking continues this critique of commodity. A broken chair found on the streets of Paris is redeemed from its obsolescence and is transformed through meticulous labour: in a repetitive and absurd action, the artist uses telephone cabling wire to restore the original weave of the seat. The telephone remains connected both to the chair and a wall-socket so that its former use is not defeated but transformed: incoming calls can continue to be received through the chair as a homogenised unit. Along with the chair two works are exhibited in binary opposition. A rope made out of city-workers' ties signals freedom and an improvised means of escape, while in Net/ Gain/ Loss, 2004, a net made out of extension cable is suspended from the ceiling and supports a TV monitor with footage of a person caught. This opposition of capture and freedom could be understood as a metaphor for the liberating process of object transformation that frees materials from their predetermined systems in Hosking's pieces. Hosking evokes a disquieting conversation in Shoe Morse 2004 when a man and woman make a pair of Morse code handsets out of their formal shoes. The couple converse with one another via the de-coded messages drummed out on their shoe heels and some DIY electronics. Mark Hosking's solo exhibitions include Radio Mayday at IBID Projects, London (2003), L'Elac, Geneva and Jerwood Gallery, London (2001). He has been included in group shows at Arnolfini, Bristol, Institute of Contemporary Arts, London and Kunstverein Bregenz (all 2001) as well as the Lisson Gallery shows Ideal Standard Summertime (1995) and A Shot in the Head (2000).

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