Gertler, Miles

New Order, No 02: Tower, 2015

digital collage on cotton paper

22.9 x 22.9 in. (58.1 x 58.1 cm) framed

Gertler, Miles

New Order, No 01: Grotezaal, 2015

digital collage on cotton paper

22.9 x 22.9 in. (58.1 x 58.1 cm) framed

Gertler, Miles

New Order, No 03: Fluid Vault, 2015

digital collage on canvas

40.8 x 40.8 in. (103.6 x 103.6 cm) framed

Gertler, Miles

Superlith, 2016

installation at Corkin Gallery

Gertler, Miles

Superlith, 2016

installation at Corkin Gallery

Miles Gertler

Artist Statement

New Order

 

New Order captures early moments of state building, before structures are occupied with the offices, agents, and institutions of the client regime. Following the practice of photo collage established with The Superlith and Seven Series, New Order intervenes in the vacant landscapes of colonial photography and Western nineteenth-century landscape painting (for instance New Order 01, after Ivan Shiskin). The frontal format flattens the picture into an architectural document—the elevation—that renders the construct as orthographic drawing.

 

Miles Gertler (b.1990) studied architecture at the University of Waterloo and Princeton University before translating his background in design to an art practice rooted in formal and technological discourse.

In 2018 Hamed Khosravi, Taneha Bacchin and Filippo LaFleur commissioned him to produce a series of images illustrating a speculative, post-human future for the Port of Rotterdam for the expanded program of the Dutch Pavilion (Work, Body, Leisure, curated by Marina Verzier Otero) at the Venice Biennale in Architecture. Gertler contributed to Imago Mundi (Central-Eastern Canada: Out of the Bush Garden, 2017-2018), presented by the Fondazione Benetton in Venice and Toronto, and has mounted two solo exhibitions, Rare Item (2017) and Superlith & Seven (2016), at Toronto's Corkin Gallery. Gertler has remained active in academia, teaching at Cornell, the University of Waterloo, and the University of Toronto.