A Possibility of an Abstraction
The Approach is pleased to present the third solo show in the gallery by Germaine Kruip.
A possibility of an abstraction reflects the first part of an ongoing project that Kruip embarked upon in 2011 as a further crystallization of several lines of thought and work that she has been pursuing for over a decade: her interest in ephemerality and where it condenses briefly into a physical or visual moment, before scattering again; in scenography of uncontrollable or ungraspable phenomena as ever-changing daylight and the passage of time; in ritual and performance as abstracted moments of everyday life; in historical and art historical examples of attempts to reach abstraction by means of geometry – and finally in the desires, theories and ideologies that underlie these attempts.
Since moving from theatre to the art world in the early 2000s, Kruip has continued to merge inside and outside, reality and its mirror image, thoughts and their visual manifestations. In analogy to her previous installations at the Approach, Kruip once again makes use of what is outside of the exhibition space: in the pub at the ground floor a white column made out of large geometrical marble beads will be installed from floor to ceiling, continuing upstairs in the gallery space. While visually joining pub and gallery, the column also emphasises the change in context when transitioning to and from each space.
In the gallery several instances of Kruip’s investigation in abstraction accompany the column: a mirror from Aranmula (India), which according to Kruip’s instructions has been created for the first time in the shape of a square rather than the traditional circle, has been handmade from an undisclosed alloy of metals and ritually polished to achieve a reflective surface as close to perfect as possible but never completely rid of distortion. On the opposite side of the gallery, four identical mirrors spin around their axes, creating brief projected flashes of a geometrical pattern before dissipating again. Finally, leaning against the wall two seemingly symmetrical wooden ellipses, hewn from the same source, have been stained and sanded to emphasise the inherent dissimilarities of the pattern of their wood grain. The formal language of simple geometrical forms such as circles or squares has deep-seeded roots in the histories of ideas, of science, of religion and of art. Kruip employs these shapes in order to explore the relationship between art and ritual in repetitive gestures that aim to subtly alter perception. By emphasizing the gestural and physical origins of the abstractions, she questions whether an absolute abstraction could ever be possible at all.
- text by Annick Kleizen -
Germaine Kruip lives and works in Amsterdam and Brussels. Recent Solo Exhibitions include; Eye Trap/Metropole Orkest/IFFR, one-day performance 3rd February, Rotterdam (2012); A Room, 24 Hours II, Pilar Parra and Romero, Madrid, Spain and the Approach, London (2010); Only the title remains, Museum De Paviljoens, Almere, The Netherlands (2009-2010); Aesthetics as a way of survival, Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany (2009). Recent Group Shows: Man in the Holocene, List Visual Arts Center at MIT, Boston, USA (forthcoming); about: blank, curated by Carla Donauer and Alexandra Landré, Kunsthalle Münster, Germany (2012); IN THE BELLY OF THE WHALE (ACT III), curated by Rosie Cooper and Ariella Yedgar, The Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain (2012);SPECIFIC COLLISIONS, curated by Melissa Gordon, COSAR HMT, Düsseldorf, Germany (2011); Haus/House, The Altona Museum, Germany (2011); Quantos Queres, MARZ Galeria, Lisbon, Portugal (2010); SILENCE (A composition), Hiroshima Museum of Contemporary Art, Tokyo, Japan (2009); Faux Jumeaux, Curated by Michel François, SMAK , Gent, Belgium (2008-2009).