I transcribe content from book to paper using a typewriter, reproducing images that allude to discourses and choosing discourses that uphold them - both visually and conceptually. A process with the goal of transferring information and pinning it down through the writer … on the one hand, my works are literally the typewritten transcription of text into landscape … the material equivalent of the book as object, process and content. The text is rearranged in a way that is made illegible by writing over the written, planting new words on top of the previous ones, canceling them, and creating an image that I could consider to also be a metaphorical translation of the essence of the book.

— Jerry B. Martin

Cecilia Brunson Projects and Joel Yoss are excited to present Jerry B. Martin: Four drawings on Performance, from a recent body of works by the Lima based artist (b.1976, Colombia). This marks the gallery’s first collaboration with Martin and is the artist’s first solo show in the UK.

Over the last 20 years, Jerry B. Martin  has  been  using  a  Remington  Rand  Standard No. 17 as a tool to transcribe texts, both as a means of processing knowledge and of producing artworks in themselves. Each of the four drawings in this presentation refer to an iconic performance which ultimately re-shaped art history:

Ana Mendieta’s Facial Hair Transplants, 1972, where Mendieta glued a male friend’s beard onto her own face;

Bruce Nauman’s Playing a note on the violin while I walk around the studio, 1967, where Nauman walked around his studio whilst repeatedly playing a single note on a violin;

Dennis Oppenheim’s ‘A Feed-back Situation,’ 1971, where Oppenheim drew on his son’s back, who translated the movement and returned it to the artist;

Chris Burden’s Shoot, 1971, where Burden had himself shot with a rifle while standing in a gallery.

Jerry B. Martin titles each of his works with the name of the artist and the performance, along with the name of a writer and their essay which has contributed to the discourse   and collective memory of each performance. Positioned within the spheres of Conceptual Art and Concrete Poetry, Martin’s series performs within a larger tradition of Appropriation  in art, questioning how text and language contribute to and create interpretation, meaning and memory.

Jerry B. Martin’s work has been  exhibited  in  museums  in  Peru  and  abroad,  including  at  the  Art Museum  of  Lima  (MALI),  Peru;  Wiesse  Bank  Museum,  Lima,  Peru;  Museum of Contemporary Art of Chile, Santiago, Chile; the Memorial of Latin America, São Paulo and Marta Traba Gallery, São Paulo, Brazil. Solo exhibitions include AMERICANA at Revolver Galería, Lima, Peru (2018); RED at Revolver Galería, Lima, Peru (2014); Memorabilia at the L'Imaginaire Gallery of the Alliance Francaise, Lima, Peru (2011) and Blue Pieces at Revolver Galería, Lima, Peru (2008). In 2012, Martin participated in La Inminencia de las Poéticas, XXX Biennial of São Paulo, Brazil and in the IV Biennial of Performance, DEFORMES, in Santiago, Chile. Group exhibitions include CRIMINALIDAD Y CRIMINALIZACIÓN at the Gallery of the University of Lima, Peru (2017); PRÓXIMA PARADA. Peruvian artists in the Hochschild Collection at Sala Alcalá 31, Madrid, Spain (2017); TYPED CUT PEELED & amp, PAINTED Latin American made, McClain Gallery, Houston, USA (2015); Route & amp, Hemnia, ABC Berlin, Germany (2014); The Camino Real Arcades curated by Pablo León de la Barra, C.C.Camino Real, Lima, Peru (2013); Transitions in The Mission, Chicago, USA (2011) and Bruma at 20 Hoxton Square Gallery, London, UK (2011).

Contact:

To view artworks and learn more please contact us at 

assistant@ceciliabrunsonprojects.com

Downloads:

Press Release

List of Works

Artist Biography