Leandro Erlich: Port of Reflections at the Neuberger Museum


Jun 19, 2017 – 12:00 PM - 5:00 PM

(daily until Jul 30, 2017)

735 Anderson Hill Road
Purchase, NY 10577 Map

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Leandro Erlich’s spectacular, monumental installation Port of Reflections will be on view for the first time in the United States at the Neuberger Museum of Art February 5 – July 30, 2017. Filling the museum’s expansive Theater Gallery, Erlich’s nighttime “harbor” with its boardwalk, rails, and dark “water,” will include several colorful rowboats that appear to float and gently rock as their reflections “shimmer” in the waters beneath. But all is not what it seems, as visitors will discover, for Erlich is a master of illusion. The exhibition also will include a selection of photographs, models and videos tracing the artist’s trajectory. Erlich, a noted Argentine conceptual artist, is recipient of the 2017 Roy R. Neuberger Exhibition Prize. Port of Reflections is his most ambitious museum installation to date.

Leandro Erlich: Port of Reflections is organized by the Neuberger Museum of Art and co-curated by Patrice Giasson, Alex Gordon Associate Curator of Art of the Americas and Helaine Posner, Chief Curator. The exhibition is accompanied by a beautiful, fully-illustrated, scholarly exhibition catalogue documenting the artist’s innovative work.

Erlich is well known for turning the ordinary – an elevator, a swimming pool, a staircase, and in this instance, a harbor – into a nonfunctional work that takes the viewer into a world of illusion. In Port of Reflections, there is no water beneath the rowboats and there are no reflections. The railings and boats are but cleverly constructed elements that create the illusion of reflection. The boats are suspended in midair, and motors create the rocking motion. “Each element of the work has been fabricated as the artist challenges notions of reality,” notes Ms. Posner in her essay.

“He asks us to consider the everyday and to question it,” adds Dr. Giasson. “Erlich thus brings the boats out of their expected context, subtracting the source of its existence. The boats are further decontextualized by bringing them into a museum gallery.” The work was modified from an earlier version created for the National Museum of Modern and Contemporary Art in Seoul, Korea in 2014 and later presented as Puerto de Memorias (Port of Memories) at MUNTREF, Museo de la Universidad Nacional de Tres Febrero in Buenos Aires. It crystalizes most of the elements that define Erlich’s works: displacement and challenging perceptions about how and where things are supposed to be.

New York viewers first saw Leandro Erlich’s work in the 2000 Whitney Biennial and, more recently, at MoMA PS 1 where his signature Swimming Pool was on view from 2008 to 2010. Viewed from above, visitors were surprised and astounded to see people seemingly walking underwater. The artist acheived this effect by placing a large acrylic sheet, covered with a few inches of water, over an empty enterable space. Said Erlich at the time: “Revealing the trick is crucial; it transforms the deception into something positive [and] allows the spectator to think and discover.” In 2013, his Dalston House at the Dalston Mill in East London, was an optical illusion with a huge mirror suspended at 45° (from the horizontal) over a life-size model of the façade of a Victorian terraced townhouse placed horizontally on the ground, giving the appearance of visitors climbing or hanging off the side of the building.

According to Andrea Giunta, Professor of Latin American Art, Universidad de Buenos Aires, who contributed an essay to the catalogue, “Erlich’s works articulate as visual, emotional, and mental puzzles. We know immediately that the space we walk into is not real and that nothing is what it seems. But we are certainly delighted with the enigma...We want to decode it.” There’s fun involved in solving the mystery, which explains why for years, viewers have enjoyed inhabiting the universe that Erlich fabricates. But the work is also ambiguous. The small boats recall aquatic activity “but they also suggest departure, or even escape,” says Giunta. “Erlich’s works propose seeing the world differently. They open a gap in the limits of the possible, slightly transgressing rules and laws, expanding the possibilities of experience and imagination...As art, these installations have the capacity to open spaces that offer visitors transit between potential worlds.”

Leandro Erlich, 43, was born in Buenos Aires, Argentina. Between 1998 and 1999, he took part in an artist residency at the Museum of Fine Arts in Houston, where he attracted wide notice. In 2001 he was invited to represent Argentina in the 49th Venice Biennale. He later participated in the Biennials of Istanbul (2001), Shanghai (2002) and São Paulo (2004), and in the Whitney Biennial (2000), among others. In 2012, he created a monumental outdoor installation, Monte-Meuble, l'Ultime Déménagement, in Nantes, France and in 2013, The Barbican, Europe's largest arts and conference venue, commissioned Erlich to create a new installation in the Dalston district of London, England. His works are included in several private and public collections including the Museum of Modern Art, Buenos Aires, Argentina; the Museum of Fine Arts, Houston; Tate Modern, London, England; Musée d'Art Moderne, Paris, France; 21st Century Museum of Contemporary Art, Kanazawa, Japan; MACRO, Rome, Italy; The Israel Museum, Jerusalem, Israel; and the Fonds National d'Art Contemporain (FNAC), Paris, France.

Roy R. Neuberger, founding patron of the Neuberger Museum of Art, who had a lifelong commitment to support the work of living artists, first funded the Neuberger Prize. It continues to be generously supported by Jim Neuberger and Helen Stambler Neuberger. Previous recipients of the prize were Cuban installation and performance artist Tania Bruguera, American figurative painter Dana Schutz, and South African video and performance artist Robin Rhode.

Upcoming event
March 29, 2017, 6:30pm
Panel Discussion: The Uncanny Work of Leandro Erlich
Andrea Giunta, author of exhibition catalogue essay A Gap in the Limits of the Possible and Professor of Latin American Art, Universidad de Buenos Aires will discuss the work of Argentinian artist Leandro Erlich, 2017 Roy R. Neuberger Exhibition Prize awardee with curators Helaine Posner and Patrice Giasson. Panelists will examine Erlich’s large-scale installation, Port of Reflections, his historical relevance, and themes of the uncanny and trompe l’oeil. The artist will join the final thirty minutes of the conversation via Skype for a Q&A with the audience.

The Neuberger Museum of Art opened on the campus of Purchase College, SUNY, in 1974 with a core collection donated by one of the greatest private collectors, philanthropists, and arts advocates of the twentieth century, Roy R. Neuberger. Today, the Neuberger is more active and vibrant than ever. Critically acclaimed exhibitions and a wealth of educational tours, lectures, and interactive programs engage the many parts of our broad community. The Neuberger is a center of teaching and learning for all stages of life.

The Museum is located at 735 Anderson Hill Road in Purchase, N.Y. (Westchester)
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The Neuberger Museum of Art is easily accessible by car or bus, and may also be reached by Metro-North. By car: From the North or South - take the Hutchinson River Parkway to Exit 28. Head north on Lincoln Avenue to Anderson Hill Road. Turn right onto Anderson Hill Road. Left at first traffic light into Purchase College campus. From 684 - take Exit 2 South on Route 120 to Anderson Hill Road. Turn left onto Anderson Hill to 2nd traffic light. Turn left at Purchase College campus. From the East - take Route 287 (Cross Westchester Expressway) to Exit 8E. Take second left over Expressway onto Anderson Hill Road. Follow signs to SUNY Purchase. At SUNY purchase follow signs to Parking Lot W-1.

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Photo caption: Leandro Erlich, Puerto de Memorias (Port of Memories), 2016. Mixed media installation. Dimensions variable. MUNTREF Museum de la Universidad Nacional de Tres de Febraro, Buenos Aires © MUNTREF. Photo: Alvaro Figueroa.

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