ArtSlant - Recently added en-us 40 THOMAS MUSEHOLD / MARKUS SAILE - Galerie Koal - July 2nd - August 8th <p>Guest curator Arne Reimann shows two artistic positions that interact with the gallery space, the first on a sculptural level, the second on a pictorial one. Whilst the two artists&rsquo; approach to their respective subject matter differs greatly at first sight, one senses a shared interest in blurring formal and iconographic information in their work. Despite their abstract appearance, the starting point for both Thomas Musehold&rsquo;s (*1982) and Markus Saile&rsquo;s (*1981) drawings, sculptures and paintings remains the figure. <br /><br />Thomas Musehold&rsquo;s sculptural work draws on found objects which he uses as a visual aid and turns into sculpture. He analyses and processes these objects; visually through drawings and formally by modifying them by hand or through chemical treatments. For instance, he employs sculptures made of carved wood which often exhibit pastoral or religious motifs and were commonly found in bourgeois sitting rooms of the 1950s. He also works with objects found in nature such as archaic-looking cones or undated glass.<br /><br />These objects serve as a starting point for further investigation; Musehold begins to chip away at sections, to enter into the material, to shape, to carve and to cut, to form and to cast it. He highlights these newly found forms by finishing the surface in a way that corresponds to the individual object, using commonplace procedures such as shellac polishing or flip flop varnish. <br /><br />The presentational structures specially developed by Musehold echo the gallery&rsquo;s architecture, adapting to the reflective surfaces of the space as well as relating to Markus Saile&rsquo;s paintings hanging on the walls. <br /><br />Saile&rsquo;s painterly work contains traces of the object and clear formal brushstrokes that, however, virtually dissolve in the multiple transparent layers of pigment on the canvas, interacting continually with shades of light and tonal values. Only rarely can the landscapes, spatial relations and half-remembered forms be descried in between the layers. Every greatly diluted layer of paint is followed by a process of washing out, overlapping, erasing and amassing. The chalk gesso that Saile employs has a long tradition in art history; indeed, it is the oldest and most durable priming technique and has been used for over 1000 years. It also possesses a certain luminosity as the colour is absorbed by the base, thus supporting the artist&rsquo;s glazing process. The colours used also have historical connotations, recalling the scarlet hues of the sovereigns of historical paintings.<br /><br />The paintings do not have a flat surface, however; the pearls, ridges and welts created by the gesso and the subsequent layers of colour make the works expand into space, confirming their status as objects and linking them back to Musehold&rsquo;s sculptures which, in turn, are presented in an installation-like manner.<br /><br />In the process-oriented development of Musehold and Saile&rsquo;s works, the information necessary to decode motifs is largely lost, whittled down, eroded. It is only in the tactile qualities of both the sculptures&rsquo; and the paintings&rsquo; surfaces that the remaining traces are still tangible, piquing the curiosity of the viewer. <br /><br />The title of the show &ndash; corraxoma &ndash; gives expression to both artists&rsquo; practices, linking chance, deterioration and analytical interest. The artificial word is composed of &ldquo;corrasion&rdquo;, a geomorphological term for the process of the mechanical erosion of the earth&rsquo;s surface through wind and rain, and &ldquo;xoma&rdquo; which references alchemistical components in a pseudoscientific way.</p> Thu, 02 Jul 2015 16:33:08 +0000 Johannes Wohnseifer - Johann König, St. Agnes - June 5th - July 5th <p style="text-align: justify;">K&Ouml;NIG GALERIE is pleased to present new works by Johannes Wohnseifer in the Chapel of the former St. Agnes Church. Two new series of pictures are on view in the downstairs gallery, the erstwhile St. Mary&rsquo;s Chapel. Very different in facture, the two series are nonetheless closely related on the level of content.<br /> <br /> The six-part Colony Collapse Disorder explicitly addresses the epidemic of beehives dying out. The words MONEY, HONEY, MOMONEY, MOHONEY, LOTSOFMONEY, and LOTSOFHONEY appear in the pictures; rather than being painted into them, they were generated by removing paint by means of laser marking. Each picture is composed of a variety of materials such as canvas, felt, and printed fabrics and held by a stainless-steel frame whose interior faces are mirror-polished to reveal the picture&rsquo;s painted edges. These frames prominently delimit the pictures, some of which recognizably allude to landscapes, horizons, and seascapes, while others demonstratively elaborate on the words.<br /> <br /> The three pictures in the Megayacht Paintings consist of powder-coated aluminum profiles. Their overall look plays on the design of the enormous luxury yachts that cruise the Mediterranean Sea in the summer months and put in at exclusive coastal resorts. In the past several years, Johannes Wohnseifer has often resorted to the mode of industrial painting, usually selecting powder-coated aluminum elements, as in the Lightweight paintings (2005&ndash;), the Beyonc&eacute; pictures (2007&ndash;2009), Close Call (2008), the Container pictures (2008&ndash;), Shutter Stutter (2009), and the Nisennenmondai series (2015&ndash;). He uses these industrially manufactured elements without reworking them, but combines them with wall paintings, prints, or pictures on canvas. In this instance, they appear in isolation, forming schematic profiles of the ships. Austerely formalist, the pictures deliberately mimic luxurious minimalist design and may be read both as scale models of the originals and as templates for large-format paintings.<br /> <br /> <br /> Johannes Wohnseifer (*1967) lives and works in Erfstadt, North Rhine-Westphalia. His recent exhibitions include (un)m&ouml;glich at Marta Herford, Individual Stories at Kunsthalle Wien and All the World's A Stage at G&ouml;tz Collection, Barcelona. In September, Johannes will have a solo show at Parkhaus Malkastenpark, D&uuml;sseldorf. Works by Wohnseifer are part of prominent collections, such as Boros Collection, Harald Falckenberg, Susan and Michael Hort, Saatchi and Julia Stoschek.</p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">K&Ouml;NIG GALERIE freut sich, in der Kapelle der St.-Agnes-Kirche neue Arbeiten von Johannes Wohnseifer zu pr&auml;sentieren. Im unteren Ausstellungsraum, der ehemaligen Marienkapelle, sind zwei neue Bilderserien zu sehen. Beide Bilderserien sind sehr unterschiedlich in ihrer jeweiligen Herstellungsweise, stehen aber in einem direkten inhaltlichen Zusammenhang. <br /> <br /> In der sechsteiligen Serie Colony Collapse Disorder wird explizit das Sterben von Bienenv&ouml;lkern aufgegriffen. Die Worte MONEY, HONEY, MOMONEY, MOHONEY, LOTSOFMONEY und LOTSOFHONEY sind auf den Bildern zu lesen. Diese Worte sind nicht auf die Bilder gemalt, sondern durch die Wegnahme von Farbe mittels einer Lasergravur erzeugt worden. Alle Bilder sind aus unterschiedlichen Materialien wie Leinwand, Filz und bedruckten Stoffen zusammengesetzt. Sie sind jeweils von einem Edelstahlrahmen umgeben, dessen spiegelpolierte Seite nach innen zeigt, so dass die bemalten Seiten der Bilder sichtbar werden. Durch diese Form der Rahmung werden die Bilder markant begrenzt. Bei einigen Bildern ergeben sich deutliche Anspielungen auf Landschaften, Horizont und Meeresblicke, andere verarbeiten demonstrativ die Worte. <br /> <br /> Die drei Bilder der Serie Megayacht-Paintings sind aus pulverbeschichteten Aluminiumprofilen zusammengesetzt. &Auml;u&szlig;erlich greifen sie die Gestaltung von riesigen Luxusyachten auf, die im Sommer im Mittelmeer kreuzen oder an exklusiven Badeorten sichtbar sind. Johannes Wohnseifer w&auml;hlt seit mehreren Jahren in seiner Arbeit immer wieder den Modus einer industriellen Malerei. Hierf&uuml;r verwendet er meist pulverbeschichtete Aluminiumelemente, wie z.B. in der Serie der Lightweight-Paintings (2005&ndash;), den Beyonc&eacute;-Bildern (2007&ndash;2009), Close Call (2008), den Container-Bildern (2008&ndash;), Shutter Stutter (2009) und der Nisennenmondai-Serie (2015&ndash;). Die industriell gefertigten Bildelemente werden ohne weitere &Uuml;berarbeitung eingesetzt, aber mit Wandmalerei, Drucken oder Leinwandbildern kombiniert. In diesem Fall stehen die Elemente f&uuml;r sich und bilden schematische Profile der Schiffe ab. In ihrer formalen Reduktion bedienen sich diese Bilder bewusst eines luxuri&ouml;s, minimalistischen Gestaltungsprinzips und k&ouml;nnen sowohl als modellartige Darstellung ihrer Vorbilder wie als Muster f&uuml;r gro&szlig;formatige Malerei verstanden werden. <br /> <br /> Johannes Wohnseifer (*1967) lebt und arbeitet in Erfstadt. Zu seinen Ausstellungen in diesem Jahr z&auml;hlten (un)m&ouml;glich im Marta Herford, Individual Stories in der Kunsthalle Wien und All the World's A Stage der Sammlung G&ouml;tz in Barcelona. Im September diesen Jahres er&ouml;ffnet er eine Einzelausstellung im Parkhaus im Malkastenpark, D&uuml;sseldorf. Werke von Wohnseifer befinden sich in den Sammlungen Boros, Harald Falckenberg, Susan und Michael Hort, Saatchi und Julia Stoschek.</p> Wed, 01 Jul 2015 18:04:17 +0000 - Galerie EIGEN + ART (Berlin) - August 4th - September 12th Wed, 01 Jul 2015 18:05:11 +0000 Paulo Nazareth - Meyer Riegger - July 7th - August 8th <p style="text-align: justify;">Confrontation and transgression are important elements for many contemporary artists who, by basing their work on this conflict, end up bringing to it a belligerent static connotation. This happens in ways that are abrupt at times, and imposing at others, carrying an infinite range of premises for them to affirm themselves in the world. As such, creation takes shape according to aesthetic as well as moral questions, germinating an identity enclosed in its own narrative and thus depriving us of the wonders of contact with the range of artistic thought.&nbsp;</p> <p style="text-align: justify;">These are the binds, which Paulo Nazareth, in his inside-out logic, breaks from his interpretation of stories he comes across along his path. He objectifies a social connection through which he subtly reorganizes the time of things by contemplation. This, perhaps the most important element in his creation, is what actually forms the cognitive meaning that elevates him above the dissonance and affirms himself on a spiritual platform capable of giving birth to his ideas. Nazareth's connections are based in a realm of mutual transparency, where a kind of radar that captures our indifference, points us toward what we have forgotten along the way.</p> <p style="text-align: justify;">In the exhibition &ldquo;Genocide in Americas,&rdquo; Paulo Nazareth sails across one of those rivers upon which we calmly lay forgetting about time and human tragedy. In his own way, he lucidly condenses action and thought, narratively outlining the various models of genocide that have disgraced the history of the Americas. Day after day, they consolidate themselves in paradoxical outlines. From the brutal extermination that came from colonization, to the enslavement of black Africans who forcibly taken to this new continent were robbed not only of their familial and spiritual ties, but also of their basic humanity. These are themes of which Nazareth subtly reminds us along this tainted timeline.</p> <p style="text-align: justify;">His video works enable our senses to perceive the solitude and excruciating violence of modern cities in a kind of protest that reverberates in the silence but echoes in our souls. His objects are ordinarily organized on white paper, which emanates lightness so we can see the richness of what initially strikes as shabby. They make us reflect on the logic of the appropriation of capital, on an identity and culture that don't belong to us. A simple empty plastic bag takes on new significance in the noble symbolism of the artist who seeks to reclaim the status of what was profaned for being formatted for the commercialization of a sacred symbolism. The crafting of these objects, in the hands of the artist, denote an agonizing and true study whose objective is to find the most fitting reparation of damages.&nbsp;</p> <p style="text-align: justify;">Nazareth also guides us across the spectrum of these inheritances through his own clear investigation. He spans alarmingly inhumane statistics of the murders of black, mixed race and indigenous people that have become routine in many countries in the Americas, and Brazil especially. Thus, we focus on this country where police violence (the same as the &ldquo;Capit&atilde;es-do-mato&rdquo;<sup>1</sup>) is sanctioned by an elite who gives carte blanche for the annihilation of marginalized peoples. In an unique informative process, the artist often comically portrays the paths of a culture that leads to caricature.&nbsp;</p> <p style="text-align: justify;">Like a declaration of the purity of his spirit, Nazareth strives for the transmutation of dense energies, providing them with a lyrical quality. This is perhaps reflected by his nomination as high priest, responsible for transmitting the oral culture of the Guarani-Kaiowa People The indigenous people who were in Venice in 2013 representing the artist in his installation, were in no way, simple ornaments &ndash; or elements of performance &ndash; as they were constantly described. First and foremost, Valdomiro Flores and Genito Gomes are human beings who went there to recount their history to passersby. A very respectful and genuine exchange, for Valdomiro &ndash; who is a spiritual, religious and philosophical leader &ndash; knew that by leaving his land, sanctified by his ancestors, he would be open to constructing a new perspective of the world. Nazareth makes us understand that both sides deserve respect. This wisdom, typical of those who recognize ancestry as a fundamental base for ethnic&rsquo;s survival, is explored in the dialogue.&nbsp;</p> <p style="text-align: justify;">The exhibition <em>Genocide in Americas</em> intends to produce parallel sensations to what happened in Venice, but in a way that viewers make contact with new perspectives. In order for them to be understood, it is necessary to approach the contemplative dimension in which Paulo has reconstituted his oral and visual tradition. In this reconstitution we identify with the features and tranquility loaded with the silence and signs of a mother in her fruitless search for meaning in the loss of her child, abducted by the Guatemalan army. In this report there is a lamentation, which, if it does not paralyze us, impels us to take a position and, at this point, find the key to a passage that was never hidden. By granting us access to his research, he kindly guides us toward an essence that is analogous to his ancestors and takes us to another level.</p> <p style="text-align: justify;">Paulo Nazareth is first and foremost an intellectual who demystifies the methods of European acculturation that has edited his culture and the education of his peers. The abstract networks by which he softly advances with bare feet, provide the foundation for the bases of his academic thought. A dense penetration of the realms of his exhibition allows us to go a bit further in our own failings. Whether through the knowledge of history, or the identification with a struggle that is, above all, human in the broadest sense that this term could possibly embody.&nbsp;</p> <p style="text-align: justify;"><span style="color: #a4a498;"> <sup>1</sup>Capit&atilde;o-do-mato: literally &ldquo;captain of the forest,&rdquo; a term used in colonial Brazil for the leaders of special militias. They were recruited from among the slaves and/or village inhabitants familiar with the trails of the forest. Their mission was to capture runaway slaves or suppress indigenous uprisings, provoked by the arrival of white colonists occupying the villages. They were usually black or of mixed race, but lost touch with their racial identity from spending so much time with the slave owners, even seeing themselves as white (unlike their peers) and part of the ruling class.</span></p> Wed, 01 Jul 2015 17:47:37 +0000 Constantin Flondor - Galerie Volker Diehl - June 27th - September 12th Wed, 01 Jul 2015 17:42:19 +0000 Caroline Kryzecki, Carla Arocha & Stéphane Schraenen, Claudia Comte, Friederike Feldmann, Matt Mullican, Christine Streuli, Tatjana Doll, Lily van der Stokker - Galerie Arratia Beer - July 3rd - August 1st <p style="text-align: justify;">In 2010 <em>My Lonely Days Are Gone</em> brought together ten contemporary artists to explore the potential of a given physical space to generate wall works that commented on the role of&nbsp;abstraction.<br /><br />Part 2 of<em> My Lonely Days Are Gone</em> continues to explore the connection among edge to edge images and the ready-made architectural set-up of the space. Each of the commissioned works in this exhibition focuses on a number of approaches to painting, drawing, collaging and printing. These non-permanent, site specific pieces juxtapose, at times, several techniques to probe the impact of specific interventions interacting with each other and within the space.<br /><br />In rethinking the usual passive role of the wall as an area where to hang works, the artists have created artworks exclusively for each of the public walls as well as the floor of the gallery. <em>My Lonely Days Are Gone&nbsp;Part 2</em> proposes both an active dialogue among the pieces and a special awareness of architecture as a receptacle for temporary images.<br /><br />From its inception abstraction has had many meanings. Its history, ramifications and impact on our visual culture are still essential to contemporary art and artists. In this exhibition an emphasis on nonfigurative works considers the efficacy and potential of the practice of abstraction, and its complex relation between its autonomy and interdependency with references in the world. The differences between abstraction and figurative art are today less defined, more fragmented, openly cross- contaminated. It is precisely this pliable language that informs the exhibition allowing representational, theoretical and abstract pictorial strategies to be juxtaposed in interconnected ways. In this age of fundamental changes, abstraction continues to represent alternative sources and realities that address the visual investigation and conceptual research of contemporary artists. An underlying temporality is part of <em>My Lonely Days Are Gone</em>, as all works will be painted over after the exhibition ends.</p> Wed, 01 Jul 2015 17:34:18 +0000