olgaistefan

Blurred Lines, ABContemporary, Zurich, Installation photos and Vernissage

In Uncategorized on December 9, 2014 at 1:05 pm

group show featuring Bernard Williams (Chicago, USA), Joelle Flumet (CH), Baltensperger + Siepert (CH), Pascal Häusermann (CH), Bettina Diel (CH/D), Andreas Marti (CH), Vlad Nanca (Bucharest, RO), Sandra Kühne (CH), huber.huber (CH)

A¦B¦C ontemporary Breitensteinstr. 45 Zürich, CH

Vernissage: Thursday, December 4, 2014, 7-10pm

Exhibition continues until January 15, 2015

Exhibition text here

Installation shots

Blurred Lines4 Blurred Lines5 Blurred Lines6 Blurred Lines7

P1040344 P1040351 P1040352 P1040374 P1040375 P1040379 P1040382 P1040384 P1040385 P1040346 P1040347 P1040348

Vernissage, December 4, 2014

P1040387 P1040388 P1040389 P1040393 P1040394 P1040395 P1040396 P1040410 P1040411  P1040414 P1040421  P1040430 P1040433 Blurred Lines2

Iulia Nistor, (i)… (ii)… (iii)… (iv)…Aiurart, Bucharest

In Uncategorized on December 2, 2014 at 3:17 pm

Iulia Nistor, (i)… (ii)… (iii)… (iv)…Aiurart, Bucharest
17 September – 7 November
In the December issue of ArtReview

In her latest solo show, the young Nuremberg based artist Iulia Nistor explores the uncertainty and disorientation of the wanderer, who allows herself to be led aimlessly through space, encountering objects and elements along her way that have stories to tell, narratives to be imagined.

And it is exactly these imagined narratives, and later more generally the realm of possibility, that also inform Nistor’s approach in titling her exhibition as if offering four different options of interpretation. The show is in two parts, spread between the two floors of the gallery and divided stylistically but loosely connected conceptually.

The two rooms of the ground floor each contain a single installation featuring a painting, a wall drawing made of tape and an artist book. The large paintings are nebulous constructions that play with perspective and empty space by juxtaposing recognisable forms with abstractions and seemingly randomly placed everyday objects (a book, wrapping paper, etc), painted from a bird’s-eye view. The wall drawings in the corner extend onto the floor through a series of connected lines and dots, and resemble constellations in three dimensions. The artist books reveal the concept behind this puzzle: Nistor chose some points on her paintings from reproductions of the work, which were then transferred through vellum paper onto a photocopy of a page in a book lying around in her studio. The text of the page was taped over, so that only the words corresponding to the points remained visible. These points were also marked as yellow dots on the vellum, then connected by lines, and the resulting form was recreated as the wall drawing mentioned above.

The titles of these two works (i. primind cadere Ochiul acum sprijina alta se-nvirteste intre and ii.primind cadere Ochiul acum sprijina intre se-nvirteste alta, both 2014) result from four possible ways of reading those words in groupings that are both nonsensical and poetic, undermining the dictatorship in meaning-construction that a specific title would engender. Multiple narratives and readings, as well as the approximate cartography of objects in space, are repeated thematically in the works in the basement, but the form is radically different. Paint lines left on transparent plastic film through a process of scratching away (as might be the case when creating the block for a woodcut print) reveal an abstract form and an obsession with materiality and process that eludes a clear concept – which is also a weakness of this body of work.


In one of the rooms, two large-scale paintings of the aforementioned type might vaguely allude to landscapes, albeit ones so distorted that they collapse into pure abstraction. An installation in another darkened chamber combines the sound of a ventilator with the painted plastic film formed into a circular tunnel that invites you to walk through and wonder about the enigmatic lines and shapes you encounter. The artist’s stated aim of circumventing meaning, however, leads her into the realm of the purely aesthetic, which can be a trap if not balanced carefully. And yet there seems to be a search undertaken by Nistor to combine form and materiality with the arbitrary subjectivity of individual viewers, an approach that needs to be clarified conceptually a bit more to be successfully presented.

Blurred Lines, group show ABContemporary, Zurich

In Curatorial project on November 28, 2014 at 10:41 am

Blurred Lines

group show featuring Bernard Williams (Chicago, USA), Joelle Flumet (CH), Baltensperger + Siepert (CH), Pascal Häusermann (CH), Bettina Diel (CH/D), Andreas Marti (CH), Vlad Nanca (Bucharest, RO), Sandra Kühne (CH), huber.huber (CH)

A¦B¦C ontemporary Breitensteinstr. 45 Zürich, CH

Vernissage: Thursday, December 4, 2014, 7-10pm

Exhibition continues until January 15, 2015

Formally, Blurred Lines questions the fragile boundaries between dimensions, with slight missteps in both directions, by moving drawing from the flat plane into space and creating space on the flat plane.

But beyond this formal treatment, the works in Blurred Lines reveal third spaces that defy categorization and that comment on social, political, and personal issues. Zones of marginalization that exist outside accepted norms become the topic of exploration for many of the artists in the show.

Joelle Flumet, Baltensperger+Siepert, Vlad Nanca, Bernard Williams and Pascal Häusermann examine individual perception of space through comments on social inequalities or other social conditions. Joelle Flumet’s digital drawings, Wasteland, show people who reside in marginalized spaces either self-imposed (like the ultra rich who segregate themselves in their opulent communities) or those imposed by society, like the homeless and refugees. Baltensperger+Siepert’s drawings represent the journeys that their immigrant interlocutors made to get from their homeland to Zurich. Complex and dangerous voyages through space and time get flattened to mere points and connecting lines, as maps are – a complete abstraction of the perils of their travels. Vlad Nanca’s Portal, a line sculpture that is actually the recreation in wood of a rebar space-saver found in a parking spot on the streets of Bucharest, becomes a comment on the conflict between the self trying to carve out an identity and the anonymity one feels in the “urban jungle”, but also the reality of the need for space in the city that leads to these artistic street markings. Bernard Williams places common words and concepts in American society on a scaffold, somewhat reflecting sentence diagrams, thus offering a critique of the faulty infrastructure on which that culture is built. Pascal Haüsermann’s two-channel video follows the artist in real time as he strolls for more than 70 minutes through various neighborhoods in Paris, marking changes in the urban landscape and its demographic. The path is documented by the video camera, then traced as a line on the map, thus shifting his movement between dimensions.

Joelle Flumet, Wasteland series

Bernard Williams, Standing Chart

Vlad Nanca, Portal

Pascal Häusermann, Walking through Paris Along a Mosaic

Baltensperger + Siepert, Desire Lines

Other artists are introspective, but push the limits between public and private selves and expose the tension and overlap between the two. Through her fragile wall-installation of outstretched rubber bands precariously tied together by playdough, Bettina Diel undertakes a personal examination of her own artistic practice and struggle to reach a satisfactory form for her preoccupations. Andreas Marti’s metallic line moves throughout the gallery, circumventing other works and architectural details, leading absurdly into a wall where a small motor activates its end, drilling a useless hole – a humorous comment on the grey area between art and craft, form and function, and the artist’s uncertain position in this debate. Hybridia are sticks composed by linking together fragments from different branches to form new wholes, new identities. Huber.huber walk the line between sculpture and drawing offering new ways of interpretation that belong to neither and both. Dear Milena Your Franz is a poetic paper work by Sandra Kühne that also balances the sculpture drawing divide, creating volume from the intense scratching-out of a phrase in a letter written by Kafka to his loved one that he later reconsidered and erased. The ambiguity of the gesture of elimination is also thematized – what once was is no longer, but it becomes something else, a process of becoming that relates to the politics of memory.

Blurred Lines starts with an examination of formal heterotopias but it quickly becomes clear that under the surface the exhibition is an analysis of social and personal ones.

Bettina Diel

Andreas Marti, Testing a Test of a Test

huber.huber, Hybridia

Sandra Kühne, Liebe Felice Deine Franz

Curated by Itinerant Projects, www.olgaistefan.wordpress.com

Follow

Get every new post delivered to your Inbox.

Join 1,218 other followers