Martin Hoener
29 Nov - 20 Dec 2007
Martin Hoener
Neues Arbeiten
29 Nov - 20 Dec 2007
In 2006, Martin Hoener was part of the group show “Attitude” (curated by Lars Bang Larsen) at c/o – Atle Gerhardsen. We are greatly pleased to announce a solo exhibition with Martin Hoener at the end of November.
Martin Hoener was born in Hamburg in 1976. He studied fine arts at the Muthesius Academy of Fine Arts in Kiel, as well as with Thomas Bayerle and Michael Krebber at the Städelschule in Frankfurt am Main.
In his exhibition at c/o – Atle Gerhardsen, Martin Hoener traces some thoughts on the theory of colour and concepts of temporal, spatial and visual movement and transformation, calling the exhibition "neues Arbeiten". In a quest for "new pathways" for art, he repeatedly stumbles over practices and techniques from recent and ancient art history, and sets out to investigate and rearrange them.
When visiting the gallery, the visitor first sees uniform grey walls. The grey of the walls is coordinated with a certain oil paint hue (the sum of all colours in Martin Hoener's studio). Here the artist places a work entitled "Konstruiertes Lächeln (Sol LeWitt smiling)", with small coloured squares reminiscent of Hard Edge paintings. The humorous title melts the severity of the provided exemplar. Especially as here a piece of trivial everyday design is used as a pattern for the work.
The trial series of 8 monochrome canvasses documents time and transience through gradual shifts in appearance and colour.
"magic eye" (2007) is an installation, composed of an object on a custom-made floor rug and a collage. The small object turns out to be a house trailer, made out of a cut-up speaker. The carpet with its many corners and indentations could be the floor plan of a well-organized room. The collage with its dots seems to clarify the many intermediate stages of the isolated components: the flickering irritates the eyes; it is nearly optically impossible to focus. It is possible to go through the various theoretical stages of meaning in the work, and yet difficult to come to a conclusion – as an auto focus function with no focal point, searching in vain for the correct setting.
The work "Kreuzer" (2007) is hanging from the ceiling in the exhibition space. The model of a sailing yacht from the 1930s links into the idea of freedom and boundlessness, associated with private sailing in our times. On the other hand, the boat is floating in a motionless state. In "Moby Dick" (chapter 42), Herman Melville makes a connection between sailing and the philosophy of colour, tracking conceptual and colour theoretical view on the "non-colour" white. As a faded white ghost ship, the "Kreuzer" crosses the space over the heads of the spectators, and raises conceptual questions regarding the nature of space in a simple manner.
In painting, colour is a constantly changing medium. Martin Hoener shows the shifts in small dimensions - both in colour technique and on a conceptual level in the monochrome works - and traces intermedial relationships such as creating "moving ways of thinking" in "magic eye". And finally, "Kreuzer" opens up worlds of ideas and utopias, which are only as tangible as the colour white in the theory of colours.
For further information or visuals please contact Maike Fries, c/o – Atle Gerhardsen: Tel.: +49-30-69 51 83 41, Fax: +49-30-69 51 83 42, E-mail: office@atlegerhardsen.com
c/o – Atle Gerhardsen
Holzmarktstraße 15-18
S-Bahnbogen 46
10179 Berlin
Neues Arbeiten
29 Nov - 20 Dec 2007
In 2006, Martin Hoener was part of the group show “Attitude” (curated by Lars Bang Larsen) at c/o – Atle Gerhardsen. We are greatly pleased to announce a solo exhibition with Martin Hoener at the end of November.
Martin Hoener was born in Hamburg in 1976. He studied fine arts at the Muthesius Academy of Fine Arts in Kiel, as well as with Thomas Bayerle and Michael Krebber at the Städelschule in Frankfurt am Main.
In his exhibition at c/o – Atle Gerhardsen, Martin Hoener traces some thoughts on the theory of colour and concepts of temporal, spatial and visual movement and transformation, calling the exhibition "neues Arbeiten". In a quest for "new pathways" for art, he repeatedly stumbles over practices and techniques from recent and ancient art history, and sets out to investigate and rearrange them.
When visiting the gallery, the visitor first sees uniform grey walls. The grey of the walls is coordinated with a certain oil paint hue (the sum of all colours in Martin Hoener's studio). Here the artist places a work entitled "Konstruiertes Lächeln (Sol LeWitt smiling)", with small coloured squares reminiscent of Hard Edge paintings. The humorous title melts the severity of the provided exemplar. Especially as here a piece of trivial everyday design is used as a pattern for the work.
The trial series of 8 monochrome canvasses documents time and transience through gradual shifts in appearance and colour.
"magic eye" (2007) is an installation, composed of an object on a custom-made floor rug and a collage. The small object turns out to be a house trailer, made out of a cut-up speaker. The carpet with its many corners and indentations could be the floor plan of a well-organized room. The collage with its dots seems to clarify the many intermediate stages of the isolated components: the flickering irritates the eyes; it is nearly optically impossible to focus. It is possible to go through the various theoretical stages of meaning in the work, and yet difficult to come to a conclusion – as an auto focus function with no focal point, searching in vain for the correct setting.
The work "Kreuzer" (2007) is hanging from the ceiling in the exhibition space. The model of a sailing yacht from the 1930s links into the idea of freedom and boundlessness, associated with private sailing in our times. On the other hand, the boat is floating in a motionless state. In "Moby Dick" (chapter 42), Herman Melville makes a connection between sailing and the philosophy of colour, tracking conceptual and colour theoretical view on the "non-colour" white. As a faded white ghost ship, the "Kreuzer" crosses the space over the heads of the spectators, and raises conceptual questions regarding the nature of space in a simple manner.
In painting, colour is a constantly changing medium. Martin Hoener shows the shifts in small dimensions - both in colour technique and on a conceptual level in the monochrome works - and traces intermedial relationships such as creating "moving ways of thinking" in "magic eye". And finally, "Kreuzer" opens up worlds of ideas and utopias, which are only as tangible as the colour white in the theory of colours.
For further information or visuals please contact Maike Fries, c/o – Atle Gerhardsen: Tel.: +49-30-69 51 83 41, Fax: +49-30-69 51 83 42, E-mail: office@atlegerhardsen.com
c/o – Atle Gerhardsen
Holzmarktstraße 15-18
S-Bahnbogen 46
10179 Berlin