re-title.com
  4 November 2010
Sculpture & Installation 

ADN GALERIA, Barcelona
BAUKUNST GALERIE, Cologne
ZACH FEUER GALLERY, New York
SIMON LEE GALLERY, London
LEHMANN MAUPIN, New York
MAI 36 GALERIE, Zurich
 

 
ADN GALERIA, Barcelona
 
 
Eugenio Merino, No Return Policy, 2010
 
 
EUGENIO MERINO
We don’t need another hero
 
October 29th – December 11th, 2010
 
"An essential aspect of power is that it only likes to laugh at its own jokes" Peter Sloterdijk
 
ADN Galería presents the second solo show in Barcelona of Eugenio Merino, We don’t need another hero.
 
Two years went by since Merino’s exhibition Global Warming was showed at ADN Galería, and now the artist seems to put aside the representation of popular figures and superheroes, typical of his previews works, and embrace the representation of anonymous characters and objects charged with strong symbology, emphasizing even more his critical stand before subjects like war and military policy. He already dealt with war and its consequences in the video Jailhouse Rock (in Guantanamo) in 2008. Now, new discourses and semantic games enrich the topics treated in former works, asking for the necessary complicity of the spectators to decode the iconography present in his work. The show swifts between causticity and satire; playing with real and complex situations, turning thus the dramatic into sarcasm and vice versa.
 
In We don’t need another hero we find a declination of Eugenio Merino in his assumed role of resistant cynic engaged in showing naked truths, facilitating some relevant unmasking; in this occasion he approaches a cardinal cynicism: the one belonging to the military power and the State. Everyone from every social class reports how evil is war and, however, we passively assist to a schizoid indoctrination so that who is supposedly weak could be presented as a hero. During Modern times, both state and military power have been translating the risk, and its supposed associated heroism, from the ancient knight, converted to a war hero, to these other that have nothing to do with war. This is exactly what’s emphasized in the sculptural group No Return Policy in which we can see two soldiers packed in wooden boxes and sent to make war as if they were weapons distributed by express mail service: a juridical and political exploitation in the name of peace. Even though this unavoidable reality could seem pretty obvious in a first moment, as a truth we all have sustained at least once, the confrontation with such a direct and insolent production, related to the ethos of classical cynicism, makes us feel taking part to this contemporary cynicism able of justifying peace through war.
 
Peace Medals, some medals apparently used to commemorate war triumphs but formally configured with a piece sign, make us look at this State’s cynicism that send to war the so-called “peacekeeping forces”, charging this message with expressivity and forcefulness. The big irony comes when the supposed heroes, dead in a “peacekeeping mission”, have to be buried in an official ceremony as heroes dead in combat. Another artwork that clearly refers to this military and central cynicism is Damocles´ Sword. This piece offers a double semantic turn: it speaks not only about the uncertain faith pending on the powerful people holding public duty, as referred to in its classical literary meaning, but also the lack of security that all of us, Western citizens, have to endure. Of course we do have armies ready to fight against the “evil axis” but the counterpart is the constant threat of international terrorism.
 
About the artist’s production process, it’s important to point out its synthetic aspect: the crash of realities, of iconographies and different or opposite symbols which generate unpredictable lectures. The apparently simplicity of a sculpture like Victory or Death shows perfectly the artist’s working process: a hand with two fingers making the peace sign, rolled up with barbed wire that reminds us of a trench, a concentration camp or a prison. A first approach suggests the impossibility of celebrating victory or peace when there are wires still trapping us. Then, we start perceiving that the artist’s intention is to symbolize the symbiosis between the increasing weaponry and peace, as if war or the menacing power of army could really bring stability, for some at least. We are so threatened and armed to the teeth that we cannot genuinely enjoy peace. Here the artist wants once again to contribute unmasking the contemporary cynical condition.
 
Eugenio Merino lives and works in Madrid, where he was born in 1975. After achieving the BFA at Universidad Complutense in Madrid, he showed his works internationally and has participated in important fairs such as: Volta Basel (ADN Galería, 2010/2009), ARCO (solo Project, ADN Galería, 2010/2009), Volta New York (ADN Galería, 2009), Artefiera (ADN Galería, 2010), Art Brussels (ADN Galería, 2008). Recently, he has participated in the exhibition One Shot! Football nd Contemporary Art at BPS22 in Charleroi (Belgium), at the Biennial Animamix in Taipei (Taiwan, 2010) and will take part at the International Ink Art Biennale of Shenzhen (China) in December 2010.
 
 
Image:
Eugenio Merino
No Return Policy, 2010
silicone, polyester, human hair, camouflage uniforms, machine guns toys, wooden boxes
Courtesy of ADN Galeria, Barcelona
 
 
ADN Galeria
c/ Enrique Granados, 49
SP-08008 Barcelona
Spain
T +34 93 451 0064
 

 
BAUKUNST GALERIE, Cologne
 
 
François Morellet, Lunatique compact n° 3, 1996
 
 
François Morellet
 
11 November 2010 to 21 January 2011
 
The Baukunst Galerie will open the third great solo exhibition of works by François Morellet. The opening will be on Wednesday the 10th November 2010 from 6 p.m. to 8 p.m.. The introductory speech will be held by Dr. Britta E. Buhlmann, director of the Museum Pfalzgalerie, Kaiserslautern. The works of art to be shown have been created between 1971 and 2009. The exhibition will include – besides a selection of wall and paper works – outstanding neon installations as well as two site-specific installations.
 
François Morellet was born 1926 in Cholet, France, and is one of the most important contemporary artists. Between 1973 and 1975 the Centre National d’Art Contemporain in Paris already organized a large solo touring exhibition in France. In the following years to this day Morellet’s works were presented all over the world, amongst others are Van Abbemuseum in Eindhoven, Centre Georges Pompidou in Paris, The Brooklyn Museum in New York, Musée d'Art Contemporain in Montréal, Neue Nationalgalerie in Berlin, Kunstmuseum Bonn, Miami Art Museum and several times at the Venice Biennale and the Documenta in Kassel. Important international museums are collecting his works and in 2008 he was the first who received the prize of Peter C. Ruppert für Konkrete Kunst in Europa.
 
Morellet is the main figure and the copula to the European "Geometric Abstraction". In the early 1950s he started to reduce his subjective decision in the process of his pictorial composition to a minimum. The bare geometry of Morellet´s abstract works of art precedes the American Minimal Art movement. In 1958 he started to make up systems which generated series of works by using random numerals. In 1960 he was a co-founder of the Groupe de Recherche d´Art Visuel, a group of artists intending to explore the possibilities of art in a scientific and experimental way. Even though the group broke up in 1968, Morellet continued this way and ended up in a critical questioning of the mathematical and geometrical paradigm developed by himself.
He was one of the first artists to be interested in the materiality of neon and worked already in 1963 with neon tubes. At first with aggressive rhythms of flashes which derives from "Optical-Art" and later he uses still light. He was fascinated by its luminance, its automation of circuit process and its industrial producibility. He considered the industrial character of this material as a gain of neutrality and sober objectivity.
 
The work 3 trames de grillage (0 - 10 + 10) (1971) is influenced by the Op-Art and is an example of Morellet’s purist way of constructing by reduction of line and plane. In the 1970s he started combining organic materials and the environment with geometric forms. The distinctive square form being characteristic for his art has been broken through by materials like limbs and by making "integrations" in the architecture.. A certain restlessness entered into the geometric order – a chaotic moment which leads him to an organic and geometric dialectic synthesis. After 1970 his art became more and more bare and it plays with its own medium and with its space.
 
One of the major aspects of Morellet’s oeuvre is that nature is not in disagreement with art anymore. This conducts the artist to move more and more easily between chaos and cosmos, order and disorder and to his inclination for a “playful method“. The number π with its non periodical transcendence becomes a new parameter of an coincidental accident. Another feature of Morellet’s art is his characteristic mixture of humour and esprit as expressed e.g. in the work titles Pégatif et Nositif (2008) or Strip-Teasing sur la pointe tirets 45-90º (2007).
 
Morellet’s two and three dimensional works of art are presenting visual structures of minimalistic reduction. All of them are based on an already existing system. Tableau 5°-95°, angle néon (sur mur) 0°-90° (1980) has been exhibited at Museum Würth in Künzelsau and in 2006 at Centrum Kunstlicht in de Kunst in Eindhoven on the occasion of Morellet’s 80th birthday. Lunatique compact nº 3 (1996) is one of the first works of the series Lunatique which Morellet started in 1996. The shape of this work is derived from the moon and refers to the effect of the moonlight which might cause restlessness. The most recent neon installations to be shown in our exhibition are Gesticulation n°1-n°3 (2009). They are expressing the interplay of gesture by six equal neon tubes and have recently exhibited at the Museum Pfalzgalerie Kaiserslautern.
 
The neon installations in the exhibition space are confronted with two site-specific installations. One is a tape installation (2007) from the series Les Adhésifs, which Morellet applies directly on walls or other solid surfaces since 1971, in our gallery he uses glass. This produces an interaction between the tape’s vertical and horizontal lines and the architectural structures of the entrance doors of the gallery. On the other hand there is a neon installation in the outside section of the gallery where constructed and organically grown entities will be connected. Néon grimpant nº1 (1999) is a conceptual combination of art and nature. Nature and industry are entering into a dialectic interplay. By these means Morellet undermines our habits of seeing. This critical questioning of the realities leaves marks in our awareness, which becomes a part of our perception of the daily life.
 
 
Image:
François Morellet
Lunatique compact n° 3, 1996
Neon tubes, aluminium, acrylic, pencil on canvas on wood
165 x 151 cm
© Baukunst Galerie, Cologne
 
 
BAUKUNST GALERIE
Theodor-Heuss-Ring 7
D – 50668 Cologne
Germany
T +49-(0)221-771 33 35
 

 
ZACH FEUER GALLERY, New York
 
 
Kristen Morgin at Zach Feuer Gallery, New York
 
 
KRISTEN MORGIN
New York Be Nice
 
November 6 - December 18, 2010
 
Zach Feuer Gallery is pleased to present New York Be Nice, the first solo exhibition of work by Kristen Morgin in New York. Morgin's show will inaugurate our new 4,800 square foot ground-level space in the historic Dia Building on 22nd Street.
 
Morgin's sculptures, comprised primarily of fired and unfired clay, are true to scale objects. Her works, which include Wrecked Spyder, a crashed Porsche 550 Spyder, appear to be unearthed or abandoned objects in varying states of ruin. Several sculptures, such as The Repeating Table, which consists of toys, books and comics, present her rendition of an object alongside its original counterpart.
 
Using unassuming materials to render readily accessible objects, Morgin's work captures the complexity of the present by way of the past. The corroding surfaces of her objects not only capture the here and now but protrude fragility, mortality and decay.
 
Kristen Morgin was born in 1968 in Brunswick, GA. Her work was featured in Unmonumental at the New Museum in New York, Thing at UCLA Hammer Museum in Los Angeles, Red Eye at the Rubbell Family Collection in Miami and currently Huckleberry Finn at CCA Wattis Institute for Contemporary Art in San Francisco. Morgin lives and works in Gardena, CA.
 
In addition to exhibitions in our main gallery, Gallery 2 will showcase exhibitions by artists separate from our main gallery program. Open, our first Gallery 2 exhibition, is a group show of gallery artists in addition to a preview of upcoming Gallery 2 shows. The artists featured in this exhibition include Tamy Ben-Tor, Joe Bradley, Sister Corita, Nathalie Djurberg, Mark Flood, Stuart Hawkins, Anton Henning, Dasha Shishkin, Dana Schutz, Johannes VanDerBeek and Phoebe Washburn as well as Alisha Kerlin, Kate Levant and Florian Schmidt.
 
 
Image:
Kristen Morgin
The Repeating Table (detail), 2010
Wood, books, toys, records with clay painted counterparts
45 x 68 x 108 inches
Courtesy of Zach Feuer Gallery
 
 
ZACH FEUER GALLERY
548 West 22nd Street
New York, NY 10011
T +1 212 989 7700
 

 
SIMON LEE GALLERY, London
 
 
ANGELA BULLOCH at Simon Lee Gallery, 2010
 
 
ANGELA BULLOCH
DISCRETE MANIFOLD WHATSOEVER
 
13 October – 27 November 2010
 
Simon Lee Gallery is pleased to present our first solo collaboration with the celebrated artist Angela Bulloch.
 
"Over the last two decades Angela Bulloch’s work has had many shapes and incorporated most medias in conceptual constellations which probed intersections and opened up hybrid spaces and novel interactions between contemporary visual art’s companions: viewer relations, notions of space, reference systems, and sister disciplines such as architecture, industrial and graphic design as well as music. Lights and switches, simple viewer interactivity, ‘new media’ sculpture and cross references to all kinds of systems and rules have been constant aspects of her work. But in a wider world – where things tend to get boiled-down for easier consumption, it was arguably her numerous ‘pixel box’ installations consisting of different variations and permutations of standardized but infinitely programmable light boxes that zoomed in the digital image and re-visualizing the cinematic, which became something of a signature. In fact though Bulloch’s work is greatly more variegated both formally and conceptually, think alone of her early mud slinging ‘painting’ machines Mud Slinger (1995) or her complex sound and light sculptural stage or platform The Disenchanted Forest x 1001 (2005)"
Dominic Eichler
 
For this, her first solo UK exhibition since 2005, Bulloch will create a body of work which re-visits these persistent concerns in her work, giving them new sculptural form. Angela Bulloch was born Rainy River, Canada in 1966. Part of the ‘freeze’ generation, she studied at Goldsmiths between 1985 and 1988. Her solo museum exhibitions include Kunsthaus Glarus (2001) UC Berkeley Art Museum (2003) Le Consortium, Dijon (2005) Modern Art Oxford, Secession Vienna and The Power Plant, Toronto, (2005) and Lenbachhaus Munich (2008). Her work is included in the current Hayward Gallery exhibition The New Decor, and was included in Colour Chart: Reinventing Colour 1950 to Today at Tate Liverpool and the Museum of Modern Art New York and Theanyspacewhatever for which she created an installation for the ceiling of Frank Lloyd Wright’s Guggenheim in New York. She was nominated for the Turner Prize in 1997 and for the Preis der Nationalgalerie für junge Kunst in 2005. Bulloch lives and works in Berlin and London.
 
 
Image:
Angela Bulloch
Discrete Manifold Whatsoever
Installation view, Simon Lee Gallery, 2010
Courtesy Simon Lee Gallery, London
 
 
SIMON LEE GALLERY
12 Berkeley Street
London W1J 8DT
T +44 (0) 20 74910100
 

 
LEHMANN MAUPIN, New York  
 
 
Erwin Wurm, Gulp, Installation view, Lehmann Maupin Gallery, 2010
 
 
Erwin Wurm
gulp
 
4 November - 4 December 2010
 
Lehmann Maupin Gallery announces its first exhibition with Erwin Wurm, entitled gulp, on view 4 November – 4 December, 2010 at 540 West 26th Street. With wry wit and a formalist approach Erwin Wurm uses simple materials and everyday objects in his performances, photography, video, installations and large freestanding sculptures, all presented in this inaugural exhibition.
 
In gulp Wurm introduces the theme of the social envelope – clothing, food, furniture, cars, houses – in order to annotate the fragility of both the individual and collective identity behind it. Wurm uses these items as personifications of a social context through which individuals attempt to express themselves all the while being formed and deformed by it. In works such as Telekinetischer Masturbator, a sculpture of a man without arms, wearing a real shirt, and Me Under LSD, a single extended hand supporting a large cloud-like structure, Wurm translates psychological and mental realities into physical realities. The layers in which Wurm surrounds the body, both metaphorically and literally, the extensive fattening-up or thinning-down of people and things, are, like his softened architecture, sculptural metaphors for an existential insecurity about the boundaries of oneself. This idea is relayed in the Psychos series, which shows the human body in various poses, hidden under sweaters and pullovers. In sculptures such as Big Coat, a series of works relating the human body to basic geometric shapes, Wurm questions the relationship between inner and outer and the dominance of the material world over the subjective, which increasingly seems deprived of its free will. Only through an anarchic deviance is momentary individuality found, however, this requires abandonment of one’s familiar social context.
 
The viewer becomes an active participant in Wurm’s dialogue with the paradoxes of contemporary society and the vocabulary of sculpture. "I want to address serious matters, but in a light way. I want to reach more than just an elite circle of insiders,” the artist has said. “My work speaks about the whole entity of a human being: the physical, the spiritual, the psychological and the political." Using performance as a starting point, Wurm’s sculpture gives physical form to the intangible while also highlighting the delicate nature of identity.
 
Erwin Wurm was born in 1954 in Bruck an der Mur / Styria, Austria and lives and works in Vienna. Known for his uniquely humorous approach to formalism, Wurm's multi-disciplinary works have appeared in exhibitions worldwide. The artist’s recent solo shows include Narrow Mist at the Ullens Center of Contemporary Art, Beijing, China, Liquid Reality, Kunstmuseum Bonn, Bonn, Germany, Erwin Wurm, Kunstbau / Lenbachhaus, Städtische Galerie im Lenbachhaus, Munich, Germany, The Artist Who Swallowed The World, Kunstmuseum St. Gallen, St. Gallen, Switzerland, Das lächerliche Leben eines ernsten Mannes, das ernste Leben eines lächerlichen Mannes, Deichtorhallen Hamburg, Hamburg, Germany, Erwin Wurm - Hamlet, Kunsthaus Zurich, Switzerland, Erwin Wurm at the Musée d'Art Contemporain de Lyon in France, and Glue Your Brain at the Museum of Contemporary Art in Sydney, Australia. Wurm’s work was included in the exhibitions The Original Copy: Photography of Sculpture, 1839 to Today at the Museum of Modern Art, New York, 2010 and the Third Moscow Biennial in 2009.
 
Works by Wurm are included in prestigious collections throughout the world at the Solomon R. Guggenheim Museum, Peggy Guggenheim Collection, the Walker Art Center, Museum Ludwig, Kunstmuseum St. Gallen, Musèe d`Art Contemporain de Lyon, and Centre Pompidou, among others.
 
 
Image:
Erwin Wurm
gulp
Installation view
Lehmann Maupin Gallery, 2010
 
 
LEHMANN MAUPIN
540 West 26th Street
New York, NY 10001
T +1 212.255.2923
 
 

 
MAI 36 GALERIE, Zurich
 
 
STEPHAN BALKENHOL
 
 
STEPHAN BALKENHOL
 
October 22 to November 20, 2010
 
Stephan Balkenhol (*1957 in Fritzlar/Germany, lives and works in Karlsruhe, Berlin and Meisenthal, France) ranks among Germany’s most renowned international sculptors. His works, regularly on view internationally since the 1980s, enjoy eye-catching presentation in public space in a number of major cities. The artist has been represented by Mai 36 Galerie since 1989.
 
Stephan Balkenhol’s rough-hewn polychromatic wood sculptures and reliefs show people and animals as well as hybrid figures and architecture. He began making his trademark figurative sculptures in the mid-1980s. In response to the abstract, minimalist and conceptual strategies of the Hamburg Academy of the Fine Arts, where he studied with Ulrich Rückriem from 1976 to 1982, Balkenhol focused on the craft of sculpting, drawing on a heritage that ranges from early Christian sculpture to Modernism. He uses chisel and hammer to carve his figures straight out of tree trunks (usually poplar) that have been halved or quartered. From larger-than-life to dwarf-like, his men, women, animals, heads and hybrids of human and animal are carved with inseparable pedestals. Marks made by the tools, grooves, fissures and cracks remain visible, testifying to the working process. This does not preclude a strong sense of realism, reinforced by the treatment of contours, the pose of the figures and the way they are painted. Balkenhol creates basic types in countless variations, displaying them alone or in groups. Not only the men and the women but also the animals reveal nothing about themselves; they tell no stories and represent nothing. They are inconspicuous, ageless and difficult to pin down; they show no emotions and appear curiously detached. They are simply there, serenely self-contained, as if gazing into the void; they are always the same and always new. Enigmatic, nameless and timeless, they are both distinctively personal and blandly anonymous. By eschewing psychological implications, the artist brings to the fore archetypical patterns of existence and emotions, so that his figures – especially those in public spaces – also function as mirrors that reflect viewers’ feelings, desires and hopes. The enthronement of nameless people subverts the nature of the monument, for Balkenhol does not honour rulers, heroes and thinkers; instead he celebrates all that is average, ordinary and anonymous. And, in so doing, he has superbly mastered the grand gesture.
 
The artist’s figures show no signs of subjective feelings or emotions; they contain no sociological or socio-critical references. Their impact lies in the simple fact of their presence, a presence that eludes definition and brings to light an existential awareness of postmodern life. For the exhibition at Mai 36, Stephan Balkenhol has created a new ensemble of sculptures.
 
[Text: Dominique von Burg | Translation: Catherine Schelbert]
 
 
Image:
STEPHAN BALKENHOL
Courtesy Mai 36 Galerie, Zurich
 
 
Mai 36 Galerie
Rämistrasse 37
CH-8001 Zurich
Switzerland
T +41 44 261 68 80
 
 

 
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