Maria MVier

Vier

12.10 – 23.11.2019

 

sVrg1-5_DSC0813Vier, 2019, installation view

 

3_DSC0275Vier, 2019, installation view

 

4_DSC0620Vier, 2019, installation view

 

rg1-3_DSC0639Vier, 2019, installation view

 

rg3_DSC0702o. T. [ scarlet red and sap green ], 2019, Indian ink on chromolux, 70 x 100 cm

 

12_DSC0475Vier, 2019, installation view

 

9_DSC0629o. T. [ scarlet red and sap green ], 2019, Indian ink on chromolux, 70 x 100 cm

 

22_DSC0406Vier, 2019, installation view

 

13_DSC0395o.  T. , 2019, Stinging nettles,  black plastic, dimensions variable, detail

 

15_DSC0480o.  T. , 2019, Stinging nettles,  black plastic, dimensions variable, detail

 

20_DSC0482 o.  T. , 2019, Stinging nettles,  black plastic, dimensions variable, detail

 

23_DSC0752o. T. [black ], 2019, Indian ink on newsprint, 42 x 60 cm

 

26_DSC0755o. T. [black ], 2019, Indian ink on newsprint, 42 x 60 cm

 

28_DSC0780o. T. [black ], 2019, Indian ink on newsprint, 42 x 60 cm

 

pd_DSC0816Dear Fear, 2019, reading performance

 

When Adorno was writing his Aesthetic Theory in the 50s and 60s, he could still make the claim, now by all accounts obsolete, that the experience of art is akin to the experience of natural beauty.  “Authentic artworks,” he writes, “hold fast to the idea of a reconciliation with nature by making themselves completely a second nature.” Although already wary of man’s subjugation of nature,  Adorno still believed it was possible to find beauty, if not in nature, then in art that we experience as if it was nature. He would argue we find certain objects in nature beautiful because these present themselves in such a way that allow us to do so.  Artworks are like a second nature because they also allow us to find beauty in them. Genius is nothing more than the creative principle by which this second nature can be produced.

Postmodern and especially feminist critique put this association of natural beauty with the beauty of art into question. While there might be objects that seem to engender claims of beauty, these are by large culturally determined by race, gender or class. Genius is not an innate principle but a historical concept, very much misogynistic in origin, that by definition excludes women from the production of art. So what would it mean to address natural beauty in art now? How can one as an artist approach the problem of nature?

These are some of the questions central to Maria VMier’s practice, and especially to the body of work she presents at GiG Munich, developed during her recent residency at a remote location in Uckermark, near Berlin. On the one hand, the reading she presents to us is a result of her research into the closely connected structures of patriarchy, capitalism and disenchanted nature, taking into account both feminist critique and postcolonial discourse. On site at Uckermack she would walk with her audience to various locations in the surrounding countryside to reflect on her relationship to nature while also referring to our current ecological crisis (the burning of the amazon, climate change denial and climate activism), the political consequences of capitalism’s belief in progress for postcolonial struggles in the global south and ecofeminist attempts to define the common as future sites of resistance. In her writing there is a Thoreau-like longing for a simpler existence within nature as well as the rejection of  hipster or even non-western spirituality, tainted as it is by the colonial representation of the other.

On the other hand her drawings are not so dissimilar to the paintings by Wols that Adorno was writing about more than 60 years ago. Black, scarlet and sap green ink on paper, meandering and interweaving brushstrokes – these formal elements recall the conventions of lyrical abstraction and in their modernism seem to pursue the image of a second nature. But the work also acknowledges that if this image is to be achieved at all it must be done knowingly, the exhibition constructed in such a way to expose the dialectics involved in all our dealings with nature. The meandering arabesques of VMiers large drawings are done on paper more suited to digital printouts than the handmade; the delicate smaller works are pinned like specimens behind plastic covers; the shamanistic frame of drying stinging nettles is set above a shimmering floor of the same plastic sheeting that is used to kill weeds. VMier’s drawings pursue a second nature almost stubbornly, aware of all the historical, political and personal difficulties involved. 

Magdalena Wisniowska 2019

Maria VMier

Vier

12.10 – 23. 11. 2019

 

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Opening: 12.10.2019, 7 – 9 pm

Reading by the artist: 8 pm

 

GiG Munich is excited to present the exhibition, ‘Vier’ by Maria VMier, artist and collaborator, known for her work with Ruine München and the Hammann von Mier Verlag. VMier’s multidisciplinary practice has two distinct aspects. On the one hand there is her performative work, with its postfeminist, social and political references, on the other, her formal, abstract drawings on paper. For her GiG Munich exhibition she shows both – performance and drawing – developed during her recent residency in Uckermark, near Berlin, as part of the Libken e.V. Kunst & Umwelt fellowship.

The work is made in response to her remote location in Uckermark and the concept of nature, as well as our relation to it, forms a large part of exhibition. With her performance VMier acknowledges the feminist approaches to ecological concerns, endorsing an ecofeminism that demonstrates the close ties between the structures of capitalism, patriarchy and the disenchantment of nature. With her drawings, she subverts the traditional place of nature in aesthetic discussions of art. Utilising an abstract language of expressive signs, she shows that to identify with nature in the work of art need not be the privilege of the male genius, but can be rather, a postfeminist critical gesture.

Jane Hayes-Greenwood

The Witch’s Garden

26.07 – 20.08 | 2.09 –  September 27.09. 2019

 

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Black Prince, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Sugar Almond, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Beehive Ginger, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Silver Dollar, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Silver Dollar, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Apollo’s Gift I, 2018, Acrylic and oil on linen, 45 x 55 cm

 

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False Unicorn Root, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Rainbow Moonstone, 2019, Acrylic and oil on linen, 45 x 55 cm

 

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Compared with the large scale installations of paintings, objects and video she has shown previously, the show Jane Hayes-Greenwood presents at GiG seems, at first glance, quite straightforward. It consists of thirteen small oil paintings, all on identically sized linen canvases, each depicting one flower or plant. Some of these plants – like for instance, One O’Clock Gun – look vaguely familiar, something you might come across in a garden or meadow, others are startlingly strange, unnatural composites of tubular forms, bulbs, prickles and flesh.  Although many of the plants are green, the colours are unlike those found in nature, a mixture of viridian, mint, pale blue, grey and black. The plants are rooted in the soil, but this is pale yellow or pink – they are clearly defined, casting strong theatrical shadows, yet equally clearly, they are not from this world. They are all slightly larger than life.

Speaking to Jane, we learn that the work stems from her earlier research into the origin of the ❤️ symbol. It is thought that this shape is based on the seeds of a mythical plant, the Silphium, known in Roman times for its contraceptive and aphrodisiacal properties.  A possible recreation of how Silphium might have looked appears in Apollo’s Gift and Apollo’s Gift II. The other plants of the collection have been similarly selected for their histories, their medicinal properties or even, as with One O’Clock Gun, for their unusual name.  Together they form a ‘Witch’s Garden,’ and it seems very deliberate to be showing them in Bavaria, a state infamous for one of the largest witch trials of the 17th century. 

But just as a fast motion film of a plant germinating and growing does not bring us any closer to the actual seedling, knowing more about Jane’s research practice is not what brings us close to the work.  As Heidegger argues in his short essay ‘The Thing,’ the abolition of distance brings no nearness, indeed often when distance is abolished, the nearness of the thing remains absent. Nearness cannot be encountered directly, instead, it can only be reached by attending to what is near.  And what is near according to Heidegger, are things, standing on their own, self-supporting and independent. Things are not objects, neither re-presented in perception, thought through their making process nor through the function they fulfil. They cannot be defined for us, precisely, by scientific method.  We have to learn the activities of things through what they do, because things are foremost an activity that involves other things and non-things – the world. 

Since I have known Jane, she has always been interested in things, whether these are the mysterious artefacts of her earlier drawings, the fetishistic partial objects of her paintings, or in this case, the plant forms contained by her canvases. Whether or not these plants are supposed to be life-like or make-believe, they gather together tales of the divine and the problems of being human, what relates to the infinite, and what is defined as perishable. Quite literally they stem forth to join earth and sky. They encourage us not to think the earth and sky separately in order to define and understand them but together, at once, intertwined. 

Magdalena Wisniowska 2019

Jane Hayes-Greenwood

The Witch’s Garden

26.07 – 20.08 | 2.09 –  September 27.09. 2019

 

Apollo's Gift I

 

 

GiG Munich is excited to present The Witch’s Garden, the first international solo exhibition by London-based, British artist Jane Hayes Greenwood. The show focuses on the artist’s latest series of work, newly made paintings of dreamlike plants and the mythical gardens where they might grow. Exploring desire, control and magical thinking, the work makes use of an idiosyncratic symbolism, referencing varied sources such as illuminated manuscripts, botanical illustration, anatomical diagrams and herbal fertility guides.

In The Witch’s Garden the painted plants act as potential ingredients for love potions or spells, their depicted herbs and flowers thought to have special power and potency.  Drawing on apocryphal histories, the painting Apollo’s Gift I is based on an extinct plant known as Silphium, reportedly used as a contraceptive and aphrodisiac in the 700 BC. Described as having a heart-shaped seed, one theory suggests this might be where the heart shape symbol ❤ originated from.  The Witch’s Garden explores our relationship to the natural world, our bodies and their life cycles, and considers fear, power and ritual behaviour.

Jane Hayes Greenwood completed an MA in Fine Art at the City & Guilds of London Art School with distinction in 2015. Soon afterwards she was shortlisted for the Catlin Art Prize, 2016 (London) and presented a large-scale solo exhibition, Lead Me Not Into Temptation, 2017 at Block 336 (London). She was recently selected for the  Anomie Review of Contemporary British Painting, 2018, as one of the 40 artists whose practices have been shaping and defining Britain’s contribution to current painting on the national and international stage. She is also the co-founder and Director of Block 336; an artist-run project space, studio provider and UK registered charity located in Brixton, London that has hosted over 30 exhibitions. She teaches within the BA Fine Art department at City & Guilds of London Art School.

 


 

GiG Munich freut sich, The Witch’s Garden zu präsentieren, die erste internationale Einzelausstellung der in London lebenden britischen Künstlerin Jane Hayes Greenwood. Die Ausstellung konzentriert sich auf die neueste Werkreihe des Künstlers, auf neu entstandene Gemälde traumhafter Pflanzen und auf die mythischen Gärten, in denen sie wachsen könnten. Die Arbeit beschäftigt sich mit Begierde, Kontrolle und magischem Denken und benutzt eine eigenwilligen Symbolik, die sich auf verschiedene Quellen bezieht, wie zum Beispiel illuminierte Manuskripte, botanische Illustrationen, anatomische Diagramme und Kräuterfruchtbarkeitsführer.

In The Witch’s Garden fungieren die bemalten Pflanzen als potenzielle Zutaten für Liebestränke oder Zaubersprüche, wobei die abgebildeten Kräuter und Blumen eine besondere Kraft und Potenz haben sollen. Das Gemälde Apollos Geschenk I basiert auf einer ausgestorbenen Pflanze namens Silphium, die angeblich im Jahr 700 v. Chr. als Verhütungsmittel und Aphrodisiakum verwendet wurde. Eine Theorie besagt, dass es sich um einen herzförmigen Samen handelt, von dem möglicherweise das Herzformsymbol ❤ stammt. Der Hexengarten erforscht unsere Beziehung zur natürlichen Welt, unseren Körpern und ihren Lebenszyklen und betrachtet Angst, Kraft und rituelles Verhalten.

Jane Hayes Greenwood hat 2015 einen MA in Fine Art an der City & Guilds of London Art School mit Auszeichnung abgeschlossen. Kurz darauf wurde sie für den Catlin Art Prize 2016 (London) gewählt und präsentierte eine große Einzelausstellung mit dem Titel Lead Me Not Into Temptation, 2017, Block 336 (London). Sie wurde kürzlich für die Anomie Review of Contemporary British Painting 2018 als eine der 40 Künstlerinnen ausgewählt, deren Praxis den britischen Beitrag zur aktuellen Malerei auf nationaler und internationaler Ebene geprägt und definiert hat. Sie ist auch Mitbegründerin und Direktorin von Block 336, ein von Künstlern geführter Projektraum, ein Studioanbieter und eine in Großbritannien registrierte Wohltätigkeitsorganisation mit Sitz in Brixton, London, die über 30 Ausstellungen veranstaltet hat. Sie unterrichtet im BA Fine Art Department der City & Guilds of London Art School.

Justina Becker

24.05 – 12.07.2019

 

P1030657Justina Becker, 2019, installation view

 

justina28Justina Becker, 2019, installation view

 

P1030722Justina Becker, untitled, 2019, antique wooden windowframe and egg tempera, dimensions variable

 

Justina14Justina Becker, 2019, installation view
justina26Justina Becker, 2019, installation view

 

P1030736Justina Becker, 2019, installation view

 

P1030735Justina Becker, 2019, installation view

 

Justina12Justina Becker, 2019, installation view

 

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Justina Becker, 2019, installation view

 

P1030699Justina Becker, o.T., 2015, egg tempera and canvas strips, 20 x 32  cm
P1030716Justina Becker, o.T., 2015, egg tempera on canvas, 20 x 32 cm

 

P1030719Justina Becker, o. T., 2015, egg tempera on canvas,  20 x 32 cm

 

P1030686Justina Becker, 2019, installation view

 

Justina3Justina Becker, 2019, installation view (nighttime)

 

Justina4Justina Becker, 2019, installation view (nighttime)

 

Justina2Justina Becker, 2019, installation view (nighttime)

 

All things have a strangeness to them for those who care to look. Their foreignness has been long recognised, whether this takes the form of the thing-in-itself, never to be experienced or trauma, first defined as that which acts like a foreign body in the mind.  We notice the strangeness of objects for instance, when blunt or broken they stop being useful and they turn away from us and each other.  Justina Becker pays close attention to things in their strangeness. The objects she incorporates in her practice are always things that she finds close by, in her house or in the small town where she lives, and almost always, these things have been abandoned, damaged in some regard, without a use. The objects have a history to them – even the viewer not privileged enough to know more of their background, the wheres and hows they came about, can recognise the signs of their previous use. They retain a sense of having lived their own life, among other people and other objects. 

Having studied painting to graduate with Klasse Hildebrand,  Justina Becker approaches her objects with the eye of a painter. Her older work was concerned with the material qualities of painting. How the canvas goes around the stretcher would be important or the way that the canvas keys fit tightly into the corner of a frame.  A shift in her practice occurred when she discovered the readymade and began to use things that previously belonged to someone else. Initially she would wrap these objects in various ways. Some would be covered in a layer of light, sheer fabric almost like a shroud, others would be tightly wound with brightly coloured woollen thread. This protective gesture had a double meaning. On the one hand, it would be a way of hiding the object, obscuring its material qualities and past histories. On the other hand, the object would never be completely covered and through the various gaps and imperfections, its material history would become even more apparent. 

The current exhibition at GiG, shows two of Justina Becker’s older paintings together with a new body of work. One seems at first a straightforwardly abstract, but gives the illusion of a painting shrunk and stretched, the other, consisting of strips of canvas wrapped tightly like a bandage around a stretcher, utilises this double gesture of hiding and revealing. They provide a kind of framework for the new work, a complex installation of hanging window frames, made specifically for the exhibition room at GiG. The wooden windows frames are old, perhaps antique, but with none of the antique’s preciousness. They have been removed and replaced with something better and less rickety, glass taken out, the wood still having some kind of value, even if just as kindling for the fire. These frames have been partially painted by the artist in sympathetic colours and rehanged in the space no longer as windows, or even as architectural elements that would divide the room, but simply for themselves, in their best light. Justina Becker’s work takes on here an almost theatrical element, but the stage she sets is curiously not for us, the viewer, awaiting some kind of grand spectacle. The room in its theatricality is now left for the objects to be in.

Magdalena Wisniowska 2019

Justina Becker

24.05 – 12.07.2019

 

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Opening: Friday 24th May 2019, 6 – 9 pm

GiG is pleased to introduce the work of Justina Becker (br. 1974) in her first solo exhibition in Munich.

In line with the recent turn towards materialism and realism in the arts, her practice pays close attention to the object, using the simple act of covering things – whether with cloth, coloured thread or cardboard – to reveal as much as to conceal its hidden objecthood. For GiG, Justina Becker will be presenting a new series, which uses the ready made device of the window frame not to open outwards, offering access to the world beyond, but inwards, towards the inner material life of things. 

 

GiG freut sich die Arbeit von Justina Becker (geb. 1974) in ihrer ersten Einzelausstellung in München vorstellen zu können.

Entsprechend dem gegenwärtigen Interesse an Materialismus und Realismus in der Kunst widmet Justina Becker dem Objekt große Aufmerksamkeit. Sie deckt Dinge ab, ob mit Stoff, buntem Faden oder Pappe, nicht um sie zu verstecken, sondern um ihre verborgene Objekthaftigkeit aufzudecken. Justina Becker präsentiert für GiG eine neue Serie mit Fensterrahmen, die den Blick nicht nach außen wenden, vielmehr offenbaren sie das materielle Innenleben der Dinge.

 

Hannes Heinrich

Look Mum No Hands

15.03 – 3.05.2019

 

fullsizeoutput_deaHannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_dd7Hannes Heinrich, o.T., 2019, oil on canvas, approx. 65 x 50 cm

 

fullsizeoutput_dacHannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_dd5Hannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_ddfHannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_de0Hannes Heinrichs, Look Mum No Hands, 2019, installation view

 

DSCF2394_04-XFHannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_de2Hannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_de5Hannes Heinrichs, Look Mum No Hands, 2019, installation view

 

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fullsizeoutput_de3Hannes Heinrichs, Look Mum No Hands, 2019, installation view

 

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fullsizeoutput_ddcHannes Heinrichs, Look Mum No Hands, 2019, installation view

 

fullsizeoutput_ddeHannes Heinrichs, Look Mum No Hands, 2019, installation view
(All images courtesy of Hannes Heinrich and Jan Erbelding)

 

When one thinks of the description, “a reflective painter” one thinks of a solitary man in studio, quietly considering each brushstroke he makes. Morandi and his objects for instance, slowly gathering dust – Raoul de Keyser would be a more recent example, a “painter’s painter,” pausing when painting the bark of the birch tree to ask, in a very serious voice, “What is a painting?” and hear nothing but silence as his response. 

Hannes Heinrich is a reflective painter in this contemplative sense. He works alone in his studio paintbrush in hand. He has a set of motifs he repeatedly returns to, an inventory of which would read as follows: grids, trees, branches, shadows, shadows of hands, woodgrain. All of these motifs have strong art historical references. The grid reminds us of how the canvas is woven but also of modernist painting. The shadow paintings recall the story of Butades’s daughter, Kora, tracing the silhouette of her lover. Larger than life handprints are like those left in prehistoric caves. Heinrich combines and recombines these elements systematically in a palette of blues (deep ultramarine and pale, like a robin’s egg) reds, yellows and black. Sometimes the grid is painted first, other times, the tree branches in oil crayon. At other times it is difficult to discern the painting process, as despite being painted in layers, the surface seems even, each block of painting lightly resting against the next. There are abstract paintings and more figurative ones and a concern with the boundary between abstraction and illusion. There is no privileging of the original in the classical sense, painting considered to be twice removed from its Platonic form – no stress over painting’s capacity for representation. Heinrich seems happy to be part of the contemporary post digital world, where the kind of illusion offered by figurative painting is one of many and where talk of originals has long ceased. 

But to call Hannes a reflective painter also does him a disservice. It neglects the natural exuberance of his work, its openness, its willingness to engage the viewer. Contemplation implies solitude and while Heinrich’s paintings are certainly thoughtful they are also chatty. The question, “What is painting?” is not asked to silence, set within the four walls of the small studio. It is not even asked to the other paintings that might already be within. It is asked to us. And not in a demanding fashion, expecting us to know, but in a friendly way, with a slight nudge and half smile, “Hey, what IS painting?” Don’t you want to know?

Magdalena Wisniowska 2019

Hannes Heinrich

Look Mum No Hands

15.03. – 03.05.2019

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Vernissage: Freitag 15. März, 18 – 21 Uhr,
15. März 2019 – 3. Mai 2019
Bitte nach Vereinbarung unter contact@gig-munich.com
Finissage: Freitag 3. Mai 2019, 19 – 21 Uhr

 

GiG Munich is excited to open 2019 with the solo exhibition by Hannes Heinrich, Look Mum No Hands.

Hannes Heinrich (b. 1989) is a figurative painter, recently graduated from the Academy of Fine Arts, Munich (Klasse Kneffel). His work has an easy, natural exuberance, a riot of colour and psychedelic-type patterns, Matisse-like brushstrokes and woven grids. His motives are often art historical, as if taken straight out of 19th century academic paintings. There is the myth of Zeuxis and Parrhasius, competing for status of best painter, Butades’ daughter, Kora, tracing her lover’s shadow and wood grain belonging to the carpenters table, two times removed from its Platonic ideal. In his work however, painting’s capacity for illusion lies not at the origin of painting, but is treated as one option out of many available for the painter. Resemblance here no longer belongs to a discourse of the copy and the original but a Road Runner world happy to be full of simulacra, copies were no originals exist. 

 

elements

Lukas Hoffmann, Andrea Zabric

16.12.2018 – 11.01.2019

 

fullsizeoutput_820elements, 2018, installation view

 

fullsizeoutput_82delements, 2018, installation view

 

fullsizeoutput_823Andrea Zabric, Pigment sculptures (Berlin red and Naples Yellow)  2018, pigment, dimensions variable

 

fullsizeoutput_835Andrea Zabric, Pigment sculptures (Berlin red and Naples Yellow)  2018, pigment, dimensions variable

 

fullsizeoutput_824Andrea Zabric, Pigment sculpture (Berlin red)  2018, pigment, dimensions variable

 

fullsizeoutput_825Andrea Zabric, Pigment sculptures (Naples yellow, 43870,)  2018, pigment, 12 x 10 x 10 cm

 

fullsizeoutput_827elements, 2018, installation view

 

fullsizeoutput_828Lukas Hoffmann, o. T., 2018, Series of 4, each in edition of 10, Stainless steel, dimensions variable

 

fullsizeoutput_830Lukas Hoffmann, o. T. and o. T, 2018, stainless steel, various textiles, pvc, plastic fittings, steel, aluminium bronze, German silver, 150 x 3 x 3 cm and 50 x 15 x 3 cm

 

fullsizeoutput_82aLukas Hoffman, o. T., 2018, various textiles, pvc, plastic fittings, steel, aluminium bronze, german silver, 150 x 3 x 3 cm

 

fullsizeoutput_832Lukas Hoffmann in elements, 2018, installation view

 

fullsizeoutput_82cLukas Hoffmann, o. T., 2018, bronze, 15 x 4 x 4 cm each

 

fullsizeoutput_82eLukas Hoffmann, o. T., 2018, series of 5, stainless steel, 9 x 1 cm each

 

fullsizeoutput_82fLukas Hoffmann, o. T. and o. T., 2018, stainless steel and various textiles, pvc, 9 x 1 cm each and 65 x 35 x 8 cm

 

fullsizeoutput_833Lukas Hoffmann, o. T., 2018, various textiles, pvc, 65 x 35 x 8 cm

 

The show elements, featuring new work by Lukas Hoffmann and Andrea Zabric, is GiG Munich’s first collaboration with Klasse Pia Fries, Akademie der bildene Kunst, München. Klasse Pia Fries is well known for its focus on abstract painting, especially in its material aspect. Both Andrea Zabric, a recent graduate (2018), and Lukas Hoffmann, a student at the class, incorporate material elements in their practice, but in a strongly conceptual rather than a painterly fashion.

Carbon, aluminium, iron, copper – basic chemical elements are at play in the work, often in their purest form. These instead of being manipulated by the artist’s hand are left in their natural alien state. Matter is subject to its own internal logic not the artist’s touch, and the method of production incorporates industrial, mechanical, and printing processes. While this is obviously human in origin, technology as much a product of man as any painting, when combined with the emphasis on materiality, lends their investigations a scientific rather than artistic quality. As an attempt to think the world outside of the personal relationship we have with it, the work relates to speculative realist concerns currently present in art and philosophy. It shares with speculative realism a taste for the dogmatic, the formal and the mathematical.  

Zabric’s signature pigment sculptures, quite literally, take centre stage. Painting becomes reduced to its primary components: space, ground and pigment. The pigment is not mixed with medium and spread across the ground in its customary way, but is compressed at high pressure to form unusually perfect cuboid shapes. This gives her colours an uncanny density, a new found depth that recalls the violence of its making. For GiG Munich Zabric has produced three new pieces in pigments she had not used before. The work is also more experimental than previously, in that she allows the pieces to crumble, thus exposing their innate vulnerability. 

For all its implications of aggression, Hoffmann’s work is curiously invisible, scattered around the room, sometimes disguised as items of furniture.  Instead of paintings, we encounter clothes hooks, a javelin is placed against the wall ready for use. Bullets (or are they exercise bars? maybe dildos?) lie waiting on the floor. The casual method of display serves to highlight the works tactile qualities, drawing us in. In a moment of masochism, we want to touch the sharp points with our fingertip and wait for the skin to break. Yet simultaneously we feel that to do so would be an imposition, we would enter a space that its not for us, that belongs to someone else, or indeed to the work itself. Quietly, the work turns away from us and withdraws into its own realm. 

Magdalena Wisniowska 2018