Archive for März, 2012

Ausstellungseröffnung 30.03.2012, 18h: „Karussell“ @ MM Projects, Karlsruhe

Freitag, März 23rd, 2012

„Karussell“, Junge Kunst aus Berlin

Ausstellungseröffnung Freitag, 30 März 2012 zwischen 18 und 21 Uhr

Kuratiert von Katrin Dillkofer und Verena Ummenhofer

Künstler: Josephine Behlke, Yuzheng Cheng, Pius Fox, Keiko Kimoto, Benedikt Richert, Ga.la Uriol

Ausstellungsdauer: 30.03. – 05.05.2012

Öffnungszeiten:  Fr & Sa 13 – 18h

MM Projects, Kriegstrasse 134, 76133 Karlsruhe

Exhibition Opening 24.03: „Related Structures“, Kienzle Art Foundation, Berlin

Freitag, März 16th, 2012

“Related Structures” presents Achim Sakic, the draftsman, and the sculptor and painter Frank Maier, whose oftentimes large paintings may be assigned to the realm of abstraction. At first sight, there is barely anything that connects both artists. And yet, this is exactly what their show at the Kienzle Art Foundation evokes: similarities, related structures. This is a direct invitation to the viewer to look closely and find out what is “behind the pictures.”

“Some of the most wonderful alliances are ones that are not immediately apparent,” states Stephan Berg in his exhibition essay. In the case of Sakic and Maier, their artistic connections are revealed by shared basic views and a similar approach to the world: Both artists develop a methodological language for their images whose “language elements” can always be reassembled anew, thus creating a new type of self-referential system.

An expert observer will detect numerous familiar elements in Achim Sakic’s drawings, such as works by other artists, neatly arranged in showcases or placed on shelves. But Sakic does not intend to come up with a photo-realistic rendering of reality. It is remarkable how often he uses works by artists, who, like Klaus Merkel, define their own oeuvre as the sum of images that are dependent upon context. Created by using an unknown and yet seemingly protocolary pattern, spectators are drawn into a labyrinth of multiple reflections, and are confronted with, among others, queries pertaining to the self-referentiality of images and the condition of their creation.

The close relationship of both artists’ content is illustrated by the fact that Achim Sakic also exhibits one of Frank Maier’s works in his arrangements, thereby making him part of his universe. And Maier’s abstract paintings in turn echo other’s (visual)-media and visual experiences. Frank Maier transforms these experiences by codifications, for example by assigning character traits or names in a reduced picture program formed by lines, basic geometric designs, or planes. The abstraction’s focal point is thus not purely the surface or the coherent pattern. Instead, the abstraction becomes a concentrated narration of experience.

The exhibition

“Related Structures” presents Achim Sakic, the draftsman, and the sculptor and painter Frank Maier, whose oftentimes large paintings may be assigned to the realm of abstraction. At first sight, there is barely anything that connects both artists. And yet, this is exactly what their show at the Kienzle Art Foundation evokes: similarities, related structures. This is a direct invitation to the viewer to look closely and find out what is “behind the pictures.”

 

“Some of the most wonderful alliances are ones that are not immediately apparent,” states Stephan Berg in his exhibition essay. In the case of Sakic and Maier, their artistic connections are revealed by shared basic views and a similar approach to the world: Both artists develop a methodological language for their images whose “language elements” can always be reassembled anew, thus creating a new type of self-referential system.

An expert observer will detect numerous familiar elements in Achim Sakic’s drawings, such as works by other artists, neatly arranged in showcases or placed on shelves. But Sakic does not intend to come up with a photo-realistic rendering of reality. It is remarkable how often he uses works by artists, who, like Klaus Merkel, define their own oeuvre as the sum of images that are dependent upon context. Created by using an unknown and yet seemingly protocolary pattern, spectators are drawn into a labyrinth of multiple reflections, and are confronted with, among others, queries pertaining to the self-referentiality of images and the condition of their creation.

The close relationship of both artists’ content is illustrated by the fact that Achim Sakic also exhibits one of Frank Maier’s works in his arrangements, thereby making him part of his universe. And Maier’s abstract paintings in turn echo other’s (visual)-media and visual experiences. Frank Maier transforms these experiences by codifications, for example by assigning character traits or names in a reduced picture program formed by lines, basic geometric designs, or planes. The abstraction’s focal point is thus not purely the surface or the coherent pattern. Instead, the abstraction becomes a concentrated narration of experience.

The exhibition will run from March 25 through August 25, 2012.

Kienzle Art Foundation

Bleibtreustr.54
D–10623 Berlin
Tel. +49(0)30 89627605
Tel. +49(0)30 31507013

Opening hours:

Th – Fr 2–7 PM

Sa 11AM–4 PM

and by appointment

 

Ausstellung bis 05.Mai 2012: Tobias Hild „Burgund“ @ GALERIE EMMANUEL POST | BERLIN

Freitag, März 16th, 2012

Tobias Hild zeichnet und malt. Landschaften, Tiere, menschliche Wesen, cartoonartige Monster, Roboter und Maschinen nehmen seine Arbeiten ein. Seine Bilder wecken erzählerische Assoziationen, die – wenn man ihnen folgt – bizarre Welten  erstehen lassen. Ritterburgen, (dunkle) Wälder, brennende Häuser, Mischwesen, Flugobjekte, einsame Landschaften und Bergketten verweisen auf Märchen und Fabeln, aber auch auf die fiktiven Welten Jules Vernes’, H. G. Wells’, J. G. Ballards oder Haruki Murakamis. Folgt man jedoch den literarischen Welten, entfernt man sich auch wieder von den  Bilderwelten Tobias Hilds, denn es sind nur Annäherungen; Hilds Werke erzählen eigene Geschichten, denen ein spezifisch phantastischer Erzählfluss eigen ist.

Ausgangspunkt der Bilder Tobias Hilds ist seine Umgebung, der Alltag. Seine subtilen Alltagsbeobachtungen hält er sowohl mit Pinsel als auch mit Stift fest. Stets mit einem Skizzenbuch in der Tasche, sammelt der Künstler überall – sowohl auf Reisen als auch im heimatlichen Alltag – seine Eindrücke mit konzentriert wachem und intensivem Blick. Mit einem Blei- oder Buntstift fängt er Stimmungen, Emotionen, Szenen ein. Wirklichkeit, was ist das? Der uralten Frage der Philosophie und Kunst nähert sich Tobias Hild zuerst mit schnellem Stift und Pinsel. (…)
Hilds Bilder sind hintergründig, ambivalent, manchmal böse, aber auch humorvoll. Es sind seine Kommentare zu den täglichen Katastrophen, Irrungen, Ängsten, Alpträumen, aber auch den poetischen, schönen Augenblicken. Die beunruhigende Kraft seiner Bilder liegt nicht nur in seinen Geschichten, seiner erzählerischen Kombinatorik, sondern auch in seinem malerischen Duktus, seiner expressiven Gestik und seiner offensichtlichen Leidenschaft mit Farbe Wirkungen zu erzielen, Strukturen und Formen zu setzen. Tobias Hilds sinnliche Lust an der Farbe ist dominant. Die Lust des Malers am Handwerk des Malens, am Farbmaterial und an Farbtönen ist unschwer zu erkennen.
(Dr. Jeannette Stoschek, 2012)

 Ausstellungsdauer:
10. März – 05. Mai 2012
Dienstag – Samstag, 12 – 19 Uhr

GALERIE EMMANUEL POST | BERLIN            
Grolmanstr. 46
10623 Berlin-Charlottenburg
Germany
t  +49.30.21460830
m +49.176.24518058