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Stedefreund Berlin 

The title of the current exhibition by Tamara Lorenz, Alexandra Schumacher and Christof Zwiener is a reference to a book by the French poet Lautréamont (Isidore Ducasse). “Les Chants de Maldoror”, published in 1874, had an enormous influence on modern literature and the Surrealists.
Man Ray named a 1920 piece, The Enigma of Isidore Ducasse, after a
passage in the book’s sixth canto, in which a young man’s beauty is compared to “the chance encounter of a sewing machine and an umbrella on a dissecting table.” The abstract-looking “object in itself” was created specifically to be photographed. The interplay between photography and the temporary object, the arrangement and de-arrangement of objects, and the role of photography as a means of capturing a temporary spatial situation are the common points of intersection in the works of these three artists. Their exhibition at Stedefreund delineates the zone between the object and its photographic representation, as manifested in both space and time. With a critical look at process, the work maps out this space between various artistic approaches.

Tamara Lorenz uses clear, focused compositions and the most basic of materials to achieve a powerful effect between familiarity and strangeness, expectancy and nonchalance, gravity and wit, naiveté and irony. Her constructions are always put together with a vital mix of design and intuition that frequently results in assemblages of objects, videos and photographs. The sculptural momentum generated by the minimal forms of geometric units is exposed as display and connected to the facts on the ground. Wonders await those with eyes to see them!

In her objects and installations, Alexandra Schumacher deals with the conceptualization and construction of space. She juxtaposes these with
photographs documenting intermediate states in her studio, thereby placing the final state being shown in relation to the process of artistic production. Her three-dimensional arrangements frequently investigate the abstract mechanisms of everyday life, their operations and consequences, in a spirit of playful approximation.

“Christof Zwiener persistently addresses the ephemeral, the space between, the void, the gap. For an artist who reasons in terms of space and form to declare the intangible to be the crux of his work would appear to be a contradiction in terms. … In Zwiener’s case, this interrogation leads to highly productive investigations of what sculpture and installation can do, and of the discourses of representation associated with them. … A knowledge of the impermanence of appearances, of their irrevocable loss, their shifting semantic horizons, is inscribed in his works, and yet these works are not depleted in the gesture of ephemerality, nor do they stage transience as dissolution or entropy. Rather, they lay claim to a space that is nonetheless always marked as a precarious construct, deploying contradictions and paradoxes or reversals against easy categorizations and attributions of meaning.” (Ursula Schöndeling, between the lines, exh. cat., Kunstverein Langenhagen, 2010)


Christof Zwiener



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Alexandra Schumacher 


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