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The galerie Michel Rein is pleased to welcome Florent Tosin (Berlin) for the third edition of Berlin-Paris\, a gallery exchange. Open f rom the 28th January to 26th February 2011\, the group show includes works of Kent Monkman and Gerd Rohling.

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Kent Monkman is part of a new gen eration of Native American artists. His broad practice\, which ranges from figurative painting to film and performance\, explores the complexities of the flawed\, yet enduring myth of the American West. Taking on the artistic traditions of Western nineteenth century painting\, Monkman’s appropriatio ns of ‘New World’ painting are meticulous recreations of large-scale\, subl ime landscapes. Monkman’s ‘trickery’ only becomes clear on closer inspectio n: these
grand panoramas\, painted in acrylic not oil\, are populated with cavorting ‘cowboys and indians’. Toying with the notion of authenticit y\, these reimagined\, often homoeroticised tableaux playfully subvert and distort traditional narratives and perceptions.

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In his multifaceted work\, Toronto-based Kent Monkman deals a table-turning hand on homogenisi ng histories of Euro-American descent. Using parody and his flamboyant alte r-ego Miss Chief Eagle Testickle as tools\, he subtly turns colonial and pi oneering myths of the American West into homoerotic playgrounds in orgiasti c revisions of nineteenth-century pastoral scenes. By appropriating the ima gery and technique of ‘New World’ landscape painters\, and by subverting th e usual roles of cowboys and Indians\, Monkman presents a critique not only of history\, but also of notions of authenticity and of visual culture as a nation-building exercise. He goes back in time to ‘queer the frontier’ an d in doing so presents a humorous and alternative view to the narratives in history books and museums.

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Raised in Winnipeg of Cree and English/ Irish ancestry\, Monkman is well-placed to take on the complex history of c ontact between the ‘native’ North American people and European colonisers. From his early involvement in set design\, theatre and film\, he has contin ued\, theatrically and humorously\, to re-write histories of first encounte rs and colonial moments of art history by adding a transgressive sexuality and iconoclastic violence to the landscapes of nineteenth-century ‘history< br />painters’ such as George Catlin (1796–1872) and Albert Bierstadt (1830 –1902). As both target and figurehead for an aesthetic language of oppressi on\, Monkman’s playful ‘cover’ versions of early colonial landscapes are de signed to open up the past for re-examination. He participates in contempor ary myth-making\, presenting history as a fluid an subjective interplay bet ween fact and fiction and\, in the process\, recuperates aboriginal power a nd customs. Kent Monkman’s work will be exhibited at la Maison Rouge\, Pari s\, in Spring 2011.

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Imagination\, appearance and reality\, or the s imulation and theatrical transformation there of\; conceptions located at t he cross-over of artistic value and mundanity\; the dressing up of banality \; and constructions within the domain of fictionality – all of these are c oordinates and parameters in the art of Gerd Rohl ing. Over the years\, Roh ling has developed such a diversity of facets in his work – an oeuvre spann ing nearly three decades – that a multitude of interrelationships\, links a nd
thematic references have evolved both within his various groups of works and in relation to Rohling’s artistic practice and use of materials. Characteristic of Rohling’s artistic approach is the length of time he allo ws for his works and projects to emerge and evolve. Akin to a sedimentary p rocess of layering and depositing\, it nevertheless results in thriving com plexes: projects such as his “First Biennale Liverpool” (1990/99) or “Bienn ale di Napoli”\, on which Rohling has been working since 1990\, have develo ped over time\, growing ever more expansive and diverse in form and hence m ore expressive and complex.

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Underlying the detail and epic long-win dedness of Rohling’s conceptualisation process is his practice of working b oth “on journeys and in situ”. His sharpened gaze for what is typical of a site or place\, or perhaps missing from it\, coupled with his refusal to si mply let things be and his desire to understand things situatively\, makes it appropriate for him to work with material on site\, to further develop h is works at another place\, extending their conceptual horizon\, before per haps
returning them to their place of origin\, where they actually bel ong.

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Gerd Rohling’s works are at once real\, mystical and concrete\ ; questions arise within them. Rohling simultaneously confronts aspects of originality and imitation\, themes of staging and (dis)illusionment\, quest ions of illusion and being\, of the worth and worthlessness of a given mate rial with the question of the significance of an artistic intervention wher eby an artwork produced from rubbish acquires intellectual value.

DTEND:20110226 DTSTAMP:20141127T211801 DTSTART:20110128 GEO:48.8577524;2.3646048 LOCATION:Galerie Michel Rein\,42 rue de Turenne \nParis\, 75003 SEQUENCE:0 SUMMARY:BERLIN-PARIS\, a gallery exchange\, Kent Monkman\, Gerd Rohling UID:143835 END:VEVENT BEGIN:VEVENT DTEND:20110116T220000 DTSTAMP:20141127T211801 DTSTART:20110116T190000 GEO:48.8577524;2.3646048 LOCATION:Galerie Michel Rein\,42 rue de Turenne \nParis\, 75003 SEQUENCE:0 SUMMARY:BERLIN-PARIS\, a gallery exchange\, Kent Monkman\, Gerd Rohling UID:145190 END:VEVENT END:VCALENDAR