Group Show II

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© Courtesy of alexander levy
Group Show II

Rudi-Dutschke-Strasse 26
Berlin 10969
February 1st, 2013 - March 9th, 2013

+49 (0)30 / 25 29 22 21
Tue - Sat 11 - 18 h and by appointment
objects, installation, sculpture


The Galerie alexander levy is very pleased to be able to present works from six
artists with the Group Show II exhibit.
With the Group Show exhibit series, the Galerie alexander levy each year presents
young artists who have drawn attention due to their special positions.
Benjamin Bronni (*1985 in NĂ¼rtingen) is distinguished by strongly structured
paintings and sculptures that appear to follow a particular geometry. They are
abstract, but contain forms that simultaneously awaken memories in our
subconscious. Bronni used OSB (engineered wood boards) as canvas for many of
his works or as a medium for sculptures. This is a material that contradicts a clear,
sharp-edged geometry and presents a stark contrast to the perfected design of
Bronni. The wall work Atelierbesuch (Studio Visit) (2012) reflects a new approach,
in which Bronni works with wood veneer and, through precise composition,
creates pictorial worlds that enable a three-dimensional realm of experience with
the two-dimensional material. Everyday material becomes a new, abstract
pictorial world, in which we can lose ourselves.
With her works, Ekaterina Burlyga (*1985 Alusta / Crimea) grapples in greater
depth with the political circumstances of inequality in international relations, as
well as with references in the subcultures of the Berlin night life.
For the exhibit, Burlyga has created a circuit that flows through the gallery. A
delicate thread extends from the ceiling to the floor of the gallery. This thread,
which doesn't break off, consists of used oil. It appears to be endless and is
pumped mechanically from the floor to the ceiling, where it is left to the forces of
gravity. With this installation, Burlyga creates a black line in the room, the
presence of which, and its properties, have a disconcerting effect.
The viewer finds himself in an area of tension between aesthetic and political
One could call James Clarkson (*1987 in Liverpool) a collector. Clarkson is always
on the lookout for objects and materials from which he can create images,
sculptures and installations. With his compositions, Clarkson makes reference to
modernity, not exclusively to art, but rather also to design. The aesthetic parallels
to painting formed by his compositions of arranged found objects are of special
interest to him in the process. The works found in the exhibit are both entirely
made of found objects. Arranged steel rods, rubber insulation and buttons
approach painting closely. Thus, Clarkson interprets a bent metal rod like a
gracefully drawn line.
In Ari Sariannidis' (*1986 in Berlin) cabinet of art adaptations, one searches futilely
for nautilus shells, ostrich eggs, coral branches and rhinoceros horns in valuably
processed mountings. The artistic forms of the presentation, ordering and
categorisation of objects can look back on a century-old tradition. The form of
presentation as cabinets of wonder or art was and remains very personal, a
reflection of its time.