Olivier Castel, Ian Law, Florian Roithmayr
29 March - 6 May 2015
Exhibition, Tenderpixel, London, UK (Curated in collaboration with Borbála Soós)
Taking place in both gallery spaces, the exhibition Things That Tumble Twice looks at the sphere of duality. It recalls ideas of juxtaposition, complementarity and interrelated parts (i.e. matter and its absence, light and darkness, signifier and significant, thesis and antithesis, animate and inanimate objects, 0 s and 1s, yin and yang). On the other hand, and at the same time, the exhibition in its entirety is informed by the principle of multiplicity as becoming and unity— as something that cannot be described as the sum of its parts or qualities but simply as an irreducible whole (i.e. complex systems, hermeneutic circle, organicism, life, a cloud).
Florian Roithmayr, Endstart no.4; Endstart no.6. Courtesy of Tenderpixel and MOTINTERNATIONAL.
The works in the exhibition change, mutate, perish; they look for each other over space and time, subtly, inhabiting and influencing the perception of the gallery ambients. In other words, the pieces in Things That Tumble Twice articulate the possibilities between a hypothesis of infinite divisibility— or the absence of a continuum, and a concept of substance which is intended instead as multiplicity, and where essence is replaced by event. In this context, will meaning be created through reduction to minimal terms, sets and oppositions, or does it instead consist in the process of interconnectivity, the tension between more parts of an entity? The works float in and out from all these different statuses, yet intertwining fields, becoming ‘something that shows itself to the senses and something other than itself to the mind'*.
* Augustine, 'Signum est quod se ipsum sensui et praeter se aliquid animo ostendit'; De dial., 1975
Olivier Castel, Mimesis. Florian Roithmayr, Endstart no.5. Installation view. Courtesy of Tenderpixel and MOTINTERNATIONAL.

'The content of this class shall be bodies, animate and inanimate ... Sometimes it even seems to me that this phenomenal configuration can be nothing but diminished by demanding that it engage in actions and motions that will alter its basic shape. Alas we must do more in the world than stand and be admired, but not too much more, and probably much less than we are accustomed to thinking we must do.'
– Yvonne Rainer, Lecture on Moving from Three Distributions, Aspen n.8, 1970-1
Olivier Castel, Mimesis.
Florian Roithmayr, Endstart no.6. Photo by Original&theCopy. Tenderpixel Gallery.
'What I am proposing here is that man’s general way of thinking of the totality, i.e. his general world view, is crucial for overall order of the human mind itself. If he thinks of the totality as constituted of independent fragments, then that is how his mind will tend to operate, but if he can include everything coherently and harmoniously in an overall whole that is undivided, unbroken, and without a border (for every border is a division or break) then his mind will tend to move in a similar way, and from this will flow an orderly action within the whole.'
– David Bohm, Wholeness and the Implicate Order, 1980

'What I mean by 'thought' is the whole thing — thought, 'felt', the body, the whole society sharing thoughts — it's all one process. It is essential for me not to break that up, because it's all one process; somebody else's thought becomes my thought, and vice versa. Therefore it would be wrong and misleading to break it up into my thought, your thought, my feelings, these feelings, those feelings. I would say that thought makes what is often called in modern language a system. A system means a set of connected things or parts. But the way people commonly use the word nowadays it means something all of whose parts are mutually interdependent — not only for their mutual action, but for their meaning and for their existence.'
– David Bohm, Thought as a System, 1992
Olivier Castel, Mimesis. Tenderpixel.
Olivier Castel, Mimesis. Tenderpixel.
'Becoming is being, multiplicity is unity, chance is necessity.'
– Gilles Deleuze. Nietzsche et la philosophie, 1962

'While tacit knowledge can be possessed by itself, explicit knowledge must rely on being tacitly understood and applied. Hence all knowledge is either tacit or rooted in tacit knowledge. A wholly explicit knowledge is unthinkable.'
– Michael Polanyi, The Logic of Tacit Inference, 1966

'Representation fails to capture the affirmed world of difference.'
– Gilles Deleuze. Différence et répétition, 1968

'Univocal being is at one and the same time nomadic distribution and crowned anarchy.'
– Gilles Deleuze. Différence et répétition, 1968
Ian law, Infirm Arbroath. Courtesy of Tenderpixel and RODEO.
Ian law, Infirm Arbroath. Tenderpixel.
Ian law, Infirm Arbroath. Tenderpixel.
'Suppose we received from another planet a message made up of pure facts, facts of such clarity as to be merely obvious: we wouldn't pay attention, we would hardly even notice; only a message containing something unexpressed, something doubtful and partially indecipherable, would break through the threshold of our consciousness and demand to be received and interpreted.'
– Italo Calvino, Cosmicomics, 1965

'I've been in love for five hundred million years...'
– Italo Calvino, Cosmicomics, 1965
Olivier Castel, Don't let the bad guys steal your body parts. Tenderpixel.
Olivier Castel, Don't let the bad guys steal your body parts. Tenderpixel.
Florian Roithmayr, Loose Tension. Photo by Original&theCopy. Courtesy of Tenderpixel and MOTINTERNATIONAL.
Florian Roithmayr, Loose Tension. Courtesy of Tenderpixel and MOTINTERNATIONAL.
Olivier Castel, Mokumokurem Mimosa. Tenderpixel Gallery.

OLIVER CASTEL (b. 1982, Paris, FR) lives and works in London. Recent solo exhibitions were Des distances dans lâme, Artium, Vitoria-Gasteiz SP (2015); Once Across the Bridge, Phantoms Came to Meet Them, Andor, London; Fountain, Ibid, London (both 2014); The Back of an Image, Rowing, London; Imaginary Lives / Eight Hearts, Concrete Café, Hayward Gallery, London (both 2013); and Vive l’Amour, Schneeeule, Berlin DE (2012). Group shows and projects include M/Other Tongue, Tenderpixel, London; Golden Age Problems, Auto Italia, London; Insomnia, Kunsthalle Wien, Vienna AT (all 2014); Spieltrieb, Ibid, London (both 2013); Rock My Religion, Das Weisse Haus, Vienna AT; Memory Marathon, Serpentine Gallery, London; A Trusted Friend, Carlos/Ishikawa, London; Sweets in Jars, Ausstellungsraum Klingental, Basel CH (all 2012); In the Belly of the Whale (Act III), Montehermoso, Vitoria-Gasteiz SP (2011); Surreal House: Fun House, Barbican Centre, London and No Soul for Sale, Auto Italia, Form Content and Tate Modern, London (all 2010). 

IAN LAW (b. 1984, UK) lives and works in London. Solo shows include Laura Bartlett Gallery, London (2014); New Works, VI, VII, Oslo NO; Make Sure, Rodeo, Istanbul TR (both 2012); Co-, Laura Bartlett Gallery, London; Add A Description, Galeria Plan B, Berlin DE; Is Many, Supplement, London (all 2011) and Complete Work, Cairn, Fife History of Art, (curated by Mihnea Mircan), The David Roberts Art Foundation, London (2010). Recent group exhibitions were Painful Zombies Quickly Watch a Jinxed Graveyard, with Richard Sides and Lorenzo Senni, Cripta747, Torino IT; Da Da Da, Peles Empire, London (both 2014); Provisional Information, (organised by Occasionals), Camberwell Space, London; Burn These Eyes Captain, and Throw Them in the Sea!!, RODEO, Istanbul TR (both 2013); All That Shines Ain’t No Gold, Rodeo, Istanbul TR; A House Of Leaves, The David Roberts Art Foundation, London and A Very, Very Long Cat, Wallspace, New York US (all 2012).

FLORIAN ROITHMAYR (b. 1976, Rosenheim, DE), lives and works in London. Recent solo exhibitions were Service, MOTINTERNATIONAL, Brussels BE (2015); Matter of Engagement, Site Gallery, Sheffield UK (2014), Grand Magasin - A project with Nat Breitenstein, French Riviera, London; BURG with Alexander Heim, Laure Genillard Gallery, London; Assault, THE SCHTIP, Sheffield UK (all 2013); MOTINTERNATIONAL, London and Galerie Neue Alte Brucke, Frankfurt DE (2012). Group exhibitions include Annuals of the 25th Century and The Influence of Furniture on Love, Wysing Arts Centre, Cambridgeshire UK; ...and the stage darkens (or this voice is a big whale), Laure Genillard Gallery, London (both 2014); The Y, Rowing Projects, London; O Chair O Flesh, Treignac Project, Treignac FR; £5.34, Carl Freedman, London (all 2013); Solid On Our Source Planet, Wysing Arts Centre, Cambridgeshire UK (2012) and Fifteen, S1 Artspace, Sheffield, UK (2011).
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