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Cerith Wyn Evans
Exterior (night)... 2014
Neon
12.9cm x 93.8cm
Edition of 30, plus 2 APs

To accompany his exhibition at the Serpentine North Gallery, Cerith Wyn Evans has created a new neon Limited Edition. The text Exterior (night)... is reversed so that it is only possible to read it ‘correctly’ in the reflection of a polished surface, such as a window at night. Evoking the language used in scripts to set the scene of a play, the work implies that the action happening in the room where it is situated is its true focus. 'A subtitle to everyday life'. 

Born in 1958, Wyn Evans has exhibited internationally since the 1980s. Recent solo exhibitions include TBA-21 Augarten, Vienna (2013), De La Warr Pavilion, Bexhill on Sea (2012), Kunsthall Bergen (2011), Casa Luis Barragán, Mexico City (2010), Inverleith House, Edinburgh (2009), MUSAC, Leon (2008), Musée d’art moderne de la ville de Paris (2006), ICA, London (2006), Kunsthaus Graz (2005) and Centre Georges Pompidou, Paris, MIT List Visual Arts Centre, and Museum of Fine Arts, Boston (all 2004). He has also participated in do it Moscow, Garage Museum of Contemporary Art, Moscow (2013), Light Show, Hayward Gallery, London (2013), Aichi Triennale (2010), the Yokohama Triennale (2005, 2008), the International Istanbul Biennial (2005), the Venice Biennale (1995, 2003, 2009, as well as the 12th Architectural Biennale 2010), and Documenta 11 (2002).

 

Cerith Wyn Evans

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Cerith Wyn Evans (b. 1958 in Llanelli, Wales) is a Welsh conceptual artist, sculptor and film-maker. In 2018 he won the Hepworth Prize for Sculpture. Evans began his career as a film and video maker, producing short experimental films in the late 1970s. Since the 1990s, his work has been characterised by its focus on language and its articulation in space through perception, as well as a precise, conceptual clarity that is often developed out of the context or history of the exhibition site. For Wyn Evans, installations should work like a catalyst, a reservoir of possible meanings that can unravel many discursive journeys. His work has a highly refined aesthetic that is often informed by his magpie-like approach to influences, which shape and colour his practice.

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