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| ALEXANDER CARVER, For an Open and Sustainable Society, 2018, oil and acrylic on canvas, 167.64 x 220.98 x 3.81 cm, unique Photo: Gunter Lepkowski Courtesy the artist; Kraupa-Tuskany Zeidler, Berlin |
CALL OUT TOOLS
ALEXANDER CARVER, PIETER SCHOOLWERTH, AVERY SINGER
KRAUPA-TUSKANY ZEIDLER
Berlin 29.09 -27.11.2018
Painting disengage.
Last friday it was a very sensitive weekend - besides the Berlin Art Week-.
Turkish President Recep Tayyip Erdogan was in Berlin trying to repair a connection with Bundeskanzlerin Angela Merkel. On the contrary all the streets of the city have been closed or interrupted because of his coming.It was total chaos.
After jumping from a bus to another I managed to reach the gallery Kraupa-Tuskany Zeidler in Kohlfurter Straße to see the impressive show CALL OUT TOOLS with works of Alexander Carver, Pieter Schoolwerth and Avery Singer.
Entering the gallery space one has the impression to cross another dimension. The three New York based artist worked on the idea to re-invent the public space. Paintings are in this sense the physical-imaginary-places to project and process scattered elements of our contemporary society.
“Call Out tools for auto-cad” is written on a yellow post-it painted over “For an Open and Sustainable Society” (2018) by Alexander Carver. This is a painting of a draft for a Si-fiction building. The painting reproduces an architectural image is a sketch for a futuristic utopian city.
What is at stake in the exhibition is the possibility of preserving a space of individual freedom in a context where the sphere of the public and shared informations invades our daily psychology.
What is at stake in the exhibition is the possibility of preserving a space of individual freedom in a context where the sphere of the public and shared informations invades our daily psychology.
The tension between art and order against reality and chaos is also visible in the painting “Reputation Demolition on Dereliction Island” (2018) by Avery Singer. Here, the division between private and public space becomes a very thin veil of violent words that separates the visitor from the image depicted. Through the transparency of the veil we could see two humanoids sitting in a corner in a in a three-dimensional grid. These figures seem to be imprisoned by the veil of words as in a curse. Or maybe the curse is for us because we are unable to cross reality for a fictional space.
Other kind of humanoid shapes are trapped in an elaborate and thick compositional space in the works of Pieter Schoolwerth. This time the works are intensely colorful. Schoolwerth works are a stratified mix of multilayered images. In “Call Out Tools #00”, (2018), collage and mixed media, there are also included quotations to the other artists. Schoolwerth’s world seems more directly influenced by the heterogeneous aspects of contemporaneity; layers over layers the colored surface changes into a cover that is dragged away by the wind or lifted by the neglect of time, to show another form, and then another, and another, inexhaustibly, until only colored shapes are revealed.
Painting deceive.
The canvas is a place of projections or of construction of reality.
Painting reveal.
It is an imaginary space that subtracts from reality to return to to it. Reality escapes though.
In such a critical time the antidote to this dark and cynical cursed world may be those bright futuristic visions.
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| ALEXANDER CARVER, PIETER SCHOOLWERTH, AVERY SINGER exhibition view, Call Out Tools, Kraupa-Tuskany Zeidler, Berlin, 2018 Photo: def-image Courtesy the artists; Kraupa-Tuskany Zeidler, Berlin |
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| ALEXANDER CARVER, For an Open and Sustainable Society, 2018 (detail ), oil and acrylic on canvas, 167.64 x 220.98 x 3.81 cm, unique Photo: Gunter Lepkowski Courtesy the artist; Kraupa-Tuskany Zeidler, Berlin
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| PIETER SCHOOLWERTH, Call Out Tools #1, 2018, oil, acrylic, and giclée print on canvas, 210.82 x 182.88 cm, unique Photo: Stephen Faught Courtesy the artist; Kraupa-Tuskany Zeidler, Berlin; Miguel Abreu Gallery, New York |
