Uncaptioned image from Revolver II, Part 1: Impart by Lizzie Hughes, Deirdre O’Dwyer, Danh Võ, Lucia Nogueira and X Marks the Bökship at Matt’s Gallery
Danh Võ, 06.01.1945 (2014); Pantoffel (2013); Gustav’s Wing (2013), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Danh Võ, Gustav’s Wing (2013), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Danh Võ, Gustav’s Wing (2013), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Danh Võ, Pantoffel (2013), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Danh Võ, Gustav’s Wing (2013), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Deirdre O’Dwyer, Dear Self, 2009. Installation view, Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Deirdre O’Dwyer, Dear Self, 2009. Installation view, Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Deirdre O’Dwyer, Stijl Shit, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Deirdre O’Dwyer, Stijl Shit, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lizzie Hughes, The Weather in Paris in 1999 (2010-), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lizzie Hughes, The Weather in Paris in 1999 (2010-), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lizzie Hughes, Fountain (2011) and The Weather in Paris in 1999 (2010-), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lizzie Hughes, The Weather in Paris in 1999 (2010-), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lucia Noguiera, Carousel (1993), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lucia Noguiera, Carousel (1993), Revolver II (Part 1: Impart), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Revolver II (Part 1: Impart), 2014, making of. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Revolver II (Part 1: Impart), 2014, making of. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Revolver II (Part 1: Impart), 2014, making of. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Uncaptioned image from Revolver II, Part 1: Impart by Lizzie Hughes, Deirdre O’Dwyer, Danh Võ, Lucia Nogueira and X Marks the Bökship at Matt’s Gallery
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Lizzie Hughes, Deirdre O’Dwyer, Danh Võ, Lucia Nogueira and X Marks the Bökship

Revolver II, Part 1: Impart

10 September – 5 October 2014

Copperfield Road

* Impart: to tell a tale, to expose or divulge while leaving a background of darkness and concealment, to open up while remaining closed, to lay bare while covering up, to pass something along which might be nothing, to give the game away, or not.

Deirdre O'Dwyer, Stijl Sh**t (2014), Dear Self (2014)

For Revolver II, O'Dwyer is projecting an animated 16mm film, Dear Self. Each frame is a digital photograph of a drawing on a US Postal Service Express Mail envelope. 1461 envelopes were photographed, with three identical frames appearing successively to make 4383 film frames. This sequence runs in reverse for another 4383 frames. The entire film is loaded into the projector as on a twisted loop, so that both forward and backward sequences are seen again in their mirror image.

Lizzie Hughes, Fountain (Zoom), 2014

The primary enquiry of Hughes’ work lies with gathering empirical data and collating it in such a way that structures and networks are given definition through the process of disengaging them from their supporting backgrounds. Often the scale and complexity of the subjects she chooses to work with would suggest that they should defy the singular visualisation that she is striving to achieve. Iconic buildings, entire cities and geographical phenomena are presented as finite entities in sound, text and video works.

Danh Võ, Gustav’s Wing (2013), Pantoffel (2013), 06.01.1945 (2014)

Born in Vietnam and brought up in Denmark, Danh Võ’s work often draws upon elements of personal lived experience to explore broader historical, social or political themes, particularly those relating to the history of Vietnam at the close of the twentieth century. His installations often address issues relating to identity and belonging, authorial status, ownership and the role of personal relationships. He is particularly interested in the discrepancies between myth and reality, past and present, and the identities and histories imposed upon him by others and those that he creates for himself.

Lucia Nogueira, Carousel (1993)

Before her death in 1998, the Brazilian artist Lucia Nogueira was predominantly known for her sculptural installations using everyday objects, intentionally creating work that left questions unanswered, deferred closure and implicated the spectator in creating meaning by bringing to the work their own memories and imagination.