Ryan Gander
Tomorrow’s Achievements, 2014
Musée d'art contemporain de Montréal
22.10.14 – 05.02.15

Ryan Gander’s work often resists interpretation while opening multiple interpretive possibilities. His installations frequently suggest remnants or aftermaths of possible events merging fact and fiction, as with his 2011 untitled installation at the Guggenheim Museum in New York. There, the event aftermath posited was an argument between artists Piet Mondrian and Theo van Doesburg that sent them crashing through a stained-glass window at Frank Lloyd Wright’s home. Glued to the floor was a $25 coin, mysteriously dated 2032. This work condenses many of Gander’s interests: artistic dogmas, future histories, temporality, theatricality and the use of humour as a narrative device. Transformation and invisibility also recur in his work, and were hallmarks of his installation I Need Some Meaning I Can Memorise, (The Invisible Pull) for Documenta (2012), where the emptied galleries of the Fridericianum were hosts to a breeze.

Tomorrow’s Achievements features many of these traits. The work consists of four moving curtains of different widths, hung around a gallery from two motorized rails. White on one side, black on the other, two move clockwise and two counterclockwise, revealing and concealing the works of other artists in this gallery, while also occasionally obscuring doorways. The work theatrically engages revelation through a lens of speculation.
—GB

Tomorrow’s Achievements was produced by La Biennale de Montréal for BNLMTL 2014

"I is...(iv)", 2013 (courtesy of the artist, gb agency, Paris; Lisson Gallery, London; and TARO NASU, Tokyo)
"Get me a chocolate cake, an umbrella and a blindfold", 2012 (courtesy of the artist, gb agency, Paris; Lisson Gallery, London; and TARO NASU, Tokyo)
Biography

Born in 1976 in Chester, UK, Ryan Gander lives and works in London and Suffolk, UK. His recent solo projects include Make Every Show Like It’s Your Last, Frac Île-de-France/Le Plateau, Paris (2013); Esperluette, Palais de Tokyo, Paris (2012); These Are the Things That I Don’t Understand, Daiwa Press Viewing Room, Hiroshima, Japan (2012); Boing, Boing, Squirt, Museo Tamayo, Mexico City (2012); Locked Room Scenario, Artangel, London (2011); Really Shiny Things That Don’t Mean Anything, Muzeum Sztuki Nowoczesnej w Warszawie, Warsaw, Poland (2011); Intervals, Solomon R. Guggenheim Museum, New York (2010); and The Happy Prince, Public Art Fund, New York (2010).

His work has also been included in major group exhibitions including dOCUMENTA (13), Kassel, Germany (2012) and ILLUMInations, 54th Venice Biennale (2011). Gander’s work may be found in numerous public collections:
Arts Council Collection, London; Boijmans van Beuningen Museum, Rotterdam;
British Council, London; Carnegie Museum of Art, Pittsburgh, PA;
Fnac, Paris;
Frac Île de France, Paris; Hamburger Bahnhof, Museum für Gegenwart
Nationalgalerie, Berlin; MacBA, Barcelona; MaMBO, Bologna, Italy;
Museum of Contemporary Art, Chicago; Museo Tamayo Arte Contemporáneo, Mexico City;
Museum of Modern Art, New York;
and Tate Collection, London. A monograph by the artist, entitled Catalogue Raisonnable Vol: 1, was co-published by JRP|Ringier and Thea Westreich/Ethan Wagner Publications (2011). Gander is represented by Lisson Gallery, London, and Annet Gelink Gallery, Amsterdam.

www.lissongallery.com/artists/ryan-gander