Karin Sander
21 May - 20 Jun 2015
Karin Sander
Kitchen Pieces Installation view, Barbara Gross Galerie, 2012
Installation view, Barbara Gross Galerie, 2015
© Studio Karin Sander & VG Bild-Kunst, Bonnpreviousnextclose
Kitchen Pieces Installation view, Barbara Gross Galerie, 2012
Installation view, Barbara Gross Galerie, 2015
© Studio Karin Sander & VG Bild-Kunst, Bonnpreviousnextclose
KARIN SANDER
21 May - 20 June 2015
An important aspect of the fascination exercised by Karin Sander's work is the discoveries she makes interacting with everyday objects. Again and again, she succeeds through often minimal shifts in perspective in reinterpreting things in surprising ways, making us radically aware of how strongly rooted are our habitual ways of dealing with the world. Thus it is no coincidence that a kitchen should become a central component of the experimental space she has set up in her studio.
Sander's Kitchen Pieces, the centrepiece of her third solo exhibition in the Barbara Gross Galerie, are outstanding examples of the stunning simplicity of her artistic touch: Sander assimilates real fruit and real vegetables into the definitional scope of art by simply fixing them to a wall with nails. It is uncanny how apples and potatoes are suddenly transformed in our perception into abstract objects – or even into "realistic" sculptures. The sense of confusion overwhelming the artistic context is almost tangible, as "the thing itself" (rather than a clever illusionistic representation) takes centre stage. Equally striking is the uncanny power of cultural conventions, such as that of hanging objects on walls, in determining the framework within which we conceive of reality.
The Reisebilder / Travel Pictures, a new series of works by Karin Sander presented here for the first time, offer a comparable vue trouvée, a fortuitously discovered perspective. In this case, it is the artist's view of a passing landscape seen from a train though a dot matrix pattern. On one of her journeys, Karin Sander was irritated to find a gigantic, grid-tone advertising foil stuck over a coach window that might once have afforded a fine view of the countryside.
Sander's momentary indignation at this impertinence mutated to curiosity – resulting in the exhilarating discovery of a new, technically impacted way of grasping the outside world. The world, dissolved in these images into discrete coloured points, is in a manner of speaking both the opposite and the logical consequence of Pointillism, which on the threshold to Modernism helped to establish abstract art on a scientific basis. Here Karin Sander confronts us with a mode of perception that is thoroughly determined by the contemporary logic of attention economics.
On May 18, 2015, the Städtische Galerie im Lenbachhaus in Munich is opening its restructured Art after 1945 collection, within which an entire room has been dedicated to Karin Sander's Mailed Paintings and Patina Paintings. A further solo exhibition of Karin Sander's works is opening on May 23, 2015 in the Tongewölbe T25 in Ingolstadt.
21 May - 20 June 2015
An important aspect of the fascination exercised by Karin Sander's work is the discoveries she makes interacting with everyday objects. Again and again, she succeeds through often minimal shifts in perspective in reinterpreting things in surprising ways, making us radically aware of how strongly rooted are our habitual ways of dealing with the world. Thus it is no coincidence that a kitchen should become a central component of the experimental space she has set up in her studio.
Sander's Kitchen Pieces, the centrepiece of her third solo exhibition in the Barbara Gross Galerie, are outstanding examples of the stunning simplicity of her artistic touch: Sander assimilates real fruit and real vegetables into the definitional scope of art by simply fixing them to a wall with nails. It is uncanny how apples and potatoes are suddenly transformed in our perception into abstract objects – or even into "realistic" sculptures. The sense of confusion overwhelming the artistic context is almost tangible, as "the thing itself" (rather than a clever illusionistic representation) takes centre stage. Equally striking is the uncanny power of cultural conventions, such as that of hanging objects on walls, in determining the framework within which we conceive of reality.
The Reisebilder / Travel Pictures, a new series of works by Karin Sander presented here for the first time, offer a comparable vue trouvée, a fortuitously discovered perspective. In this case, it is the artist's view of a passing landscape seen from a train though a dot matrix pattern. On one of her journeys, Karin Sander was irritated to find a gigantic, grid-tone advertising foil stuck over a coach window that might once have afforded a fine view of the countryside.
Sander's momentary indignation at this impertinence mutated to curiosity – resulting in the exhilarating discovery of a new, technically impacted way of grasping the outside world. The world, dissolved in these images into discrete coloured points, is in a manner of speaking both the opposite and the logical consequence of Pointillism, which on the threshold to Modernism helped to establish abstract art on a scientific basis. Here Karin Sander confronts us with a mode of perception that is thoroughly determined by the contemporary logic of attention economics.
On May 18, 2015, the Städtische Galerie im Lenbachhaus in Munich is opening its restructured Art after 1945 collection, within which an entire room has been dedicated to Karin Sander's Mailed Paintings and Patina Paintings. A further solo exhibition of Karin Sander's works is opening on May 23, 2015 in the Tongewölbe T25 in Ingolstadt.