In principle, any abstraction of the object is allowed which has a sufficiently strong creative power behind it.
is a group exhibition curated by Laurie De Chiara of Berlin-based
artists that was originally shown in Los Angeles and now has returned
to Berlin to take on a new context. All
of the exhibiting artists come from different backgrounds, cultures and
represent varied artistic approaches. Beyond their shared commonality
of where the work was produced, the exhibition presents a range of
styles, references, thought processes and outcomes. Wunderlust,
translates to mean “magical desire”, which calls for much
interpretation through the eyes of the creator and the viewer. Thus
the idea of the exhibition is to allow for all possibilities of what
one actually sees or wants to see.
The artworks presented in Wunderlust encourage interpretation by not providing answers but perhaps more
questions. There are layers of mystery some more abstract then others
but all provoking discourse. In the “Rainbow Paintbrush Series” of Warren Neidich each paintbrush is a product of an evolving condition of brain/mind
first projected and then enacted in the original landscape painting,
for instance the bow in Peter Paul Rubens, Landscape with Rainbow,
1636, and then reconstituted through the process of what he refers to
as a Performative Pull as an afterimage on the bristles of the animal
hair brushes he then hangs as stand ins. Wolfgang Karl May presents graphite drawings representing a “tree house of dreams” and
the plans of travel to various locations around the world, each time
giving the tree house a new life. Franz Hoefner and Harry Sachs’s the artistic duo create
ironic sculptural installations that respond to specific sites or
situations with a critical social and cultural awareness. There is a video with a selection of their documented projects.
One of the central themes in Cornelia Schmidt-Bleek’s sumi ink drawings of botanical imagery explore the relationship between society, culture and nature. In Peter Freitag’s,
photo-collage series “Private Stages” posed nudes have been altered
redirecting the viewers’ attention to the background, creating an
ambiguity to the situation. David Krippendorff’s obscured photograph, “Darkness Shades Me”, gives a sublime presence to this almost absent bouquet of flowers. The “Utopian Fair” sculpture of Stefan Saffer has
a formalist construction but is then abstracted in a playful and
improvisational approach that allows for further discourse and
interpretation. Architectural structures are abstracted in Eva-Maria Wilde’s offset print collages with layered fields of color and tape to construct a completely new formation. Maureen Jeram captures the feeling of a laid back Berlin summer life in her realistic
oil painted collages yet there is a sense of mystery remaining.
Albrecht Schaefer photographs capture a moment of time using minimal means to play with
light and shadow transforming and abstracting and everyday setting in
Berlin. Matthew Burbridge’s ironic works are commentaries on recent art forms such as “pseudo-
formalism” which opens up a platform for contemporary art practice
discourse. Elena Bajo is a “social sculptor” taking her starting point from existing objects
or paintings, deconstructing them and then recontextualizing their form
in an installation dealing with the subtle relationships.
De Chiara who is originally from New York City is an independent
curator based in Berlin, formerly the founder/partner of müllerdechiara
Gallery Berlin and De Chiara| Stewart Gallery in New York City. For
the past 15 years she has been curating group exhibitions with
international rasters of artists in private and public institutions as well as in her galleries .