Klosterfelde visits Sutton Lane
30 Jun - 23 Jul 2011
KLOSTERFELDE VISITS SUTTON LANE
Tobias Buche, Lara Favaretto, Ulrike Kuschel
30 June – 23 July , 2011
Gallery Klosterfelde, Berlin, is pleased to present recent work by Tobias Buche, Lara Favaretto and Ulrike Kuschel during this summer’s gallery exchange with Sutton Lane in Paris.
Tobias Buche’s (born 1978, lives and works in Berlin) earlier works comprised a deeply subjective compilation of personal archive material highly complex both in a formal and a conceptual way – snapshots of friends, computer-printouts, Xeroxes, found photographs as well as drawings and texts – and thus served as a ‘portrait’ of the artist’s perception and his “world.” He works in a variety of media denying strict classification.
While the recent large-format works’ level of abstraction at first seems unexpected, they too are blurring borders. Untitled (2010) is situated somewhere between drawing, painting and printmaking.
The work resembles drawings with its fine, nervous mark making, or develops a painterly quality with its smeared, at times plain large-scale color fields. Serving simultaneously as gesture and index, color is the focus in this process, which is somewhat akin to printmaking, where color pigments dissolved in water leave their traces on paper. A tension evolves between the erratic, uncontrolled handling of the sheet and the spectacle of the glossy paper seemingly dripping of lurid, aggressive paint. However, it is always merely a quotation of the monumentally aggressive – the loud gestures finding their ephemeral, ingenuous and timid counterparts.
Lara Favaretto (born 1973, lives and works in Torino) is working on the production of perplexity and a sense of magical fantasy. She equally employs sculpture, photography, film, installation and performance. Her investigations play with the ambivalence of aesthetic forms and concepts of negation, the durability of objects and the ephemeral nature of events.
Favaretto has developed a series of temporary public installations entitled "Momentary Monuments" based on the idea of destruction and disappearance. Her contribution for the 2009 Venice Biennale was a temporary swamp outside of the Arsenale inspired by people who had withdrawn themselves from the public eye in order to protect their inventions, dreams, or their madness, who preferred an existence in a state of suspension to a life in the dogma of presence. Homage to Thomas Grant Hadwin (2011) is dedicated to one of the 20 disappeared Favaretto chose for these metaphorical monuments. Playing with the tension between materialization and invisibility, these cenotaph-like memorials always utilize the contrasting materials of brass, wood and earth, and always contain a secret object. Hadwin, an Australian suffering from paranoia and loving the wild, escaped prison after cutting down the Golden Spruth, the Haida people’s sacred tree.
In her artistic practice, Ulrike Kuschel (born 1972, lives and works in Berlin) links context-oriented research with varieties of documentary styles, mainly employing different photographic reproduction techniques, text, installation and drawing. The main focus is her always very personal reflection on historically or politically complex places and events, conceptually exploring their often multi-layered specificity.
In Tangerreise (Voyage à Tanger) 1905 (2007) Kuschel is examining how history is written, documented and perceived. Resembling a historical museum display, this installation is reminiscent of an odd Berlin newspaper article from 1905, ironically commenting on again a French press novelty: While visiting Tanger and causing the first Morocco crisis, German emperor Wilhelm II apparently was hit by a bouquet of flowers held together by a tricolor ribbon, which made his horse rear up. Skelette (Skeletons) (2008) are photographs taken during archaeological excavations in Berlin a few years ago. While actually stemming from a former churchyard of the Middle Ages found underneath a postwar car park, they easily could be mistaken as documents from World War II or any other context.
Kuschel questions the potential of historic documents and documentary practices in general, especially investigating the often wide discrepancy between the image and reality.
Tobias Buche, Lara Favaretto, Ulrike Kuschel
30 June – 23 July , 2011
Gallery Klosterfelde, Berlin, is pleased to present recent work by Tobias Buche, Lara Favaretto and Ulrike Kuschel during this summer’s gallery exchange with Sutton Lane in Paris.
Tobias Buche’s (born 1978, lives and works in Berlin) earlier works comprised a deeply subjective compilation of personal archive material highly complex both in a formal and a conceptual way – snapshots of friends, computer-printouts, Xeroxes, found photographs as well as drawings and texts – and thus served as a ‘portrait’ of the artist’s perception and his “world.” He works in a variety of media denying strict classification.
While the recent large-format works’ level of abstraction at first seems unexpected, they too are blurring borders. Untitled (2010) is situated somewhere between drawing, painting and printmaking.
The work resembles drawings with its fine, nervous mark making, or develops a painterly quality with its smeared, at times plain large-scale color fields. Serving simultaneously as gesture and index, color is the focus in this process, which is somewhat akin to printmaking, where color pigments dissolved in water leave their traces on paper. A tension evolves between the erratic, uncontrolled handling of the sheet and the spectacle of the glossy paper seemingly dripping of lurid, aggressive paint. However, it is always merely a quotation of the monumentally aggressive – the loud gestures finding their ephemeral, ingenuous and timid counterparts.
Lara Favaretto (born 1973, lives and works in Torino) is working on the production of perplexity and a sense of magical fantasy. She equally employs sculpture, photography, film, installation and performance. Her investigations play with the ambivalence of aesthetic forms and concepts of negation, the durability of objects and the ephemeral nature of events.
Favaretto has developed a series of temporary public installations entitled "Momentary Monuments" based on the idea of destruction and disappearance. Her contribution for the 2009 Venice Biennale was a temporary swamp outside of the Arsenale inspired by people who had withdrawn themselves from the public eye in order to protect their inventions, dreams, or their madness, who preferred an existence in a state of suspension to a life in the dogma of presence. Homage to Thomas Grant Hadwin (2011) is dedicated to one of the 20 disappeared Favaretto chose for these metaphorical monuments. Playing with the tension between materialization and invisibility, these cenotaph-like memorials always utilize the contrasting materials of brass, wood and earth, and always contain a secret object. Hadwin, an Australian suffering from paranoia and loving the wild, escaped prison after cutting down the Golden Spruth, the Haida people’s sacred tree.
In her artistic practice, Ulrike Kuschel (born 1972, lives and works in Berlin) links context-oriented research with varieties of documentary styles, mainly employing different photographic reproduction techniques, text, installation and drawing. The main focus is her always very personal reflection on historically or politically complex places and events, conceptually exploring their often multi-layered specificity.
In Tangerreise (Voyage à Tanger) 1905 (2007) Kuschel is examining how history is written, documented and perceived. Resembling a historical museum display, this installation is reminiscent of an odd Berlin newspaper article from 1905, ironically commenting on again a French press novelty: While visiting Tanger and causing the first Morocco crisis, German emperor Wilhelm II apparently was hit by a bouquet of flowers held together by a tricolor ribbon, which made his horse rear up. Skelette (Skeletons) (2008) are photographs taken during archaeological excavations in Berlin a few years ago. While actually stemming from a former churchyard of the Middle Ages found underneath a postwar car park, they easily could be mistaken as documents from World War II or any other context.
Kuschel questions the potential of historic documents and documentary practices in general, especially investigating the often wide discrepancy between the image and reality.