SUPER REAL – HYPER WRONG
Häusler Contemporary München is proud to present »Super Real – Hyper Wrong«, a group exhibition curated by Benita Meißner with contributions by Tobias Collier, Paul Desborough, gelitin, Matthew McCaslin and Marco Schuler.
The works in this exhibition challenge our common perception of daily life by questioning the relations between art and reality, while presenting alternative worlds brimming with irony and absurdity.
»Super Real – Hyper Wrong« reaches beyond the framework of the gallery’s regular programme to include artists whose work engages in a dialogue with familiar positions such as Marco Schuler. First and foremost, it challenges common artistic categories, as paintings become sculptures, sculptures turn into video works, and painterly interventions invest the gallery space.
Comprising paintings, installations and videos, the work of Tobias Collier (*1972, Cornwall) examines a series of universal questions. Taking the shape of nonsensical experimental set-ups, the British artist’s installations are assembled from trivial everyday materials such as chairs, matchsticks or coffee mugs. The intrinsic logic of his compositions eludes the viewer’s understanding and thus illustrates the limits of human intellect. These often absurd settings question conventional scientific methods of knowledge production by presenting viewers with a simultaneously ironic and poetic universe. The paper works from the series of »Emptied Mind Maps« (2009) are based on formal elements borrowed from mind-mapping techniques, which serve to create intricate configurations of boxes, circles and arrows highlighted in different colours. By removing the charts’ original content (i.e. the words), Collier produces purely formal patterns
which encourage spectators to fill their empty spaces with meaning.
The work of Paul Desborough (*1966) aims to expand the limits of painting. Based on image and text elements borrowed from commodities such as plastic bags, Desborough creates visual objects which oscillate between painting, collage, sculpture and installation. In »I’m Still Outdoors NY« (2010), the paint has been detached from the canvas and is thus invested with an autonomous physical presence. The resulting relief-like structure is a three-dimensional material
which allows the painter to construct a new pictorial reality.
The Austrian artists’ collective gelitin – Wolfgang Ganter (*1968), Ali Janka (*1970), Florian Reither (*1970) and Tobias Urban (*1971) – have been known internationally since 1993. Their work, which takes the shape of unconventional happenings and installations, radically undermines society’s values and understanding of art. Their playful, Dadaist interactions with the public were last shown in Munich and at the Venice Biennale ten years ago. At Häusler Contemporary, gelitin, who have been invited to this year’s Venice Biennale, will show a series of modelling clay sculptures.
The installations of the New York-based artist Matthew McCaslin (*1957, Bayshore, New York) are reminiscent of an inventor’s workshop. By combining everyday objects such as cables, TV sets, lamps and fans, McCaslin creates complex structures which reveal the absurdity of technology. In »Super Real – Hyper Wrong«, he presents a video sculpture which was first shown in the groundbreaking exhibition »Objects in the Art of the 20th Century« (2000) at Haus der Kunst in Munich. In McCaslin’s artificial reality, space travel as an image of progress is shown under a distinctly prosaic light.
The work of Marco Schuler (*1972 Bühl, Baden) investigates the relations between the body and space. Schuler’s videos and sculptures, which rely on the artist’s physical involvement, are centred on feats of physical endurance or attempts to overcome the limitations of the body. Combining everyday materials such as wood, aluminium or plastic, his sculptural works include formal, historical and philosophical references to high-brow and popular culture alike. While the shape of
the »Column« (2009) shown in this exhibition is reminiscent of a fluted shaft, the object as such remains dysfunctional: made from soft imitation leather, Schuler’s monument is yielding to the laws of gravity, thus becoming an amorphous body with an independent and abstract character.