Katharina Grosse, It Wasn't Us * XIBT Contemporary Art Mag
A special exhibition of the Nationalgalerie - Staatliche Museen zu Berlin Hamburger Bahnhof - Museum für Gegenwart - Berlin by Elda Oreto Katharina Grosse turns the world into a canvas and everything into a work of art, the exhibition "Katharina Grosse: It Wasn't Us", curated by Udo Kittelmann and Gabriele
Visualizzazione post con etichetta painting. Mostra tutti i post
Visualizzazione post con etichetta painting. Mostra tutti i post
giovedì 26 novembre 2020
Katharina Grosse, It Wasn’t Us until 10 January, 2021 / A special exhibition of the Nationalgalerie / Staatliche Museen zu Berlin / Hamburger Bahnhof Museum für Gegenwart, Berlin - Xibt Contemporary Art Magazine
K.H. Hödicke at Palais Populaire - Xibt Contemporary Art Magazine
K.H. Hödicke at Palais Populaire * XIBT Contemporary Art Mag
Frantic flashing neon signs overflow from the gray facades of concrete buildings and intertwine in a constellation of advertising posters and glimpses of underground life in Berlin, almost a ghost town, sweet and dark, this is the scenario created by Karl-Horst Hödicke in his inexhaustible artistic practice.
giovedì 4 ottobre 2018
CALL OUT TOOLS | GROUP SHOW BY ALEXANDER CARVER, PIETER SCHOOLWERTH, AVERY SINGER @ KRAUPA-TUSKANY ZEIDLER, Berlin 29.09 -27.11.2018
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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 |
domenica 23 settembre 2018
THE VITALIST ECONOMY OF PAINTING CURATED BY ISABELLE GRAW @ GALERIE NEU / MD72, BERLIN | 15.09.2018 – 07.11.2018
THE VITALIST ECONOMY OF PAINTING
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
AT GALERIE NEU AND MD72
15.09.2018 – 07.11.2018
Georgie Nettell, Torey Thornton, Ellen Cantor, Sarah Morris, Merlin Carpenter, Charline von Heyl, Valentina Liernur, Eric N. Mack, Christopher Wool, Amy Sillman
Jutta Koether, Josephine Pryde, René Magritte
Alex Israel, Wade Guyton, Eliza Douglas, Ken Okiishi, Rosemarie Trockel, Annette Kelm
Heimo Zobernig, KAYA (Kerstin Brätsch & Debo Eilers), Frank Stella
Avery Singer, Albert Oehlen, Jeanette Mundt, Jana Euler, Birgit Megerle
There's something incredibly charming about the idea that a painting could have its own soul. I have found myself wondering that, for example, looking at Las Meninas by Diego Velázquez or Giorgio De Chirichos’ surrealist compositions.
In the exhibition The Vitalist Economy of Painting, at Galerie Neu and MD72, is actually possible to experience the magic power of paintings by Georgie Nettell, Torey Thornton, Ellen Cantor, Sarah Morris, Merlin Carpenter, Charline von Heyl, Valentina Liernur, Eric N. Mack, Christopher Wool, Amy Sillman, Jutta Koether, Josephine Pryde, René Magritte, Alex Israel, Wade Guyton, Eliza Douglas, Ken Okiishi, Rosemarie Trockel, Annette Kelm, Heimo Zobernig, KAYA (Kerstin Brätsch & Debo Eilers), Frank Stella, Avery Singer, Albert Oehlen, Jeanette Mundt, Jana Euler, Birgit Megerle.
The extensive group show, curated by Isabelle Graw, professor of art theory and art history at the Staatliche Hochschule für Bildende Kunst in Frankfurt and co-founder of Text zur Kunst, is coming after the publication of “The Love of Painting. Genealogy of a Success Medium”.
The Love of Painting talks about painting not as a media or a genre but as a Formation in foucauldian words. As many artists say, paintings have a quasi-subject presence. In someway they have a life of their own indipendent from their authos but inherited by them.
The exhibition is developed into six chapters throughout the two venues.
In Big Joy (2004) of Charline von Heyl a huge brown spot is stretching over the canvas almost as if the painting made itself.
The trace of the artist is like a magical aura. But this magical aura is the trace of the artist as a creator that is not present. It is a trace of an absence. Albert Oehlen painting is an example of this delicate balance. Oehlen gave up to his privileged role as author to let an outside occasion ‘guides’ his hand: the event is the commercial exhibition. The Gold zur Gelb (2018) is a golden shape which reminds of a dollar symbol, establishing its own value as material and immaterial in the same time.
In Avery Singer’s Untitled (2018) the ethereal figure of the artist is appearing in a 4th- dimensional corner shaped perspective, of the surfaces covered in a red-blue grid.
A trace of the artist in her Persona, entangled in a network of private/public relations and social interactions is another important chapter of painting as a living formation. As is perceivable in Jeanette Mundt: Baby Like the Wind, (2018) where a big skull shape is the reproduction of a tattoo from the artist's partnere Ned Vena.
Time without the history of our actuality, mixes and remixes relationships, erases networks, forgets and returns the same and always different.
The canon of painting presented by Graw finds a very important aspect in the direct contamination with reality; the world outside the painting is directly entering into the surface of art as a re-juvinating element.
Jutta Koether in Isabelle Bild #3 (2018), reproduced an image of the media: Angela Merkel looking thoughtfully at a painting of Monet the day of Trump’s inauguration. The reenactment in the painting shows Isabelle Graw in Merkel's place, but with flashy pink shoes, her back to the news. The viewer is forced to look at the painting into the painting, at the curator's back, mirroring the reality.
Birgit Megerle "Recreation" (2018), a girl, lying on a bed, looking through the painting, straight to the spectator is breaking the distance between reality and painting. The painting is at the same time truth and fiction.
In the exhibition the vitalistic energy is building up a structure that puts the artist in a special position respect to the consumerist economy. An artist is the one who can elude the yoke of the production chain but at the same time remain an active producer of the company.
Rosemarie Trockel’ s “Color assistant, (2018) embodies this tension with a true-lue-coarse-knit woolen fabric that is covering the true painting.
Anette Kelm's Red Stripes 1, (2018), shows the illusion and imperfection of reality through the contamination between of painting and photography.
Ken Okiishi, gesture/data ( feedback ), (2015), Heimo Zobering ohne Titel (1991), black box, KAYA (Kerstin Bratsch & Debo Eilers) drape Procession [Jake] (2017), and Frank Stella, Dawidgrodek I, (1971), show how extanded is the relation between painting with different media.
Stella's painting is from the series "Polish Village". It get his name after a synagogue destroyed by the Nazi. Stella presents a three dimensional composition in which different geometrical figures are matched together. Only the title points to an historical event while the funky composition is almost acting as a detonator.
The vitalist force (Bergson) at the origin of the painting releases an irrational fold that, characteristic of contemporary decadence, may also holds back the individual freedom.
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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| The Vitalist Economy of Painting curated by Isabelle Graw Installation view, Galerie Neu, Berlin, 2018, Courtesy of the artist and Galerie Neu, Berlin. |
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