From the 5.10.2021 GiG Munich will be away, doing the SWAB fair in Barcelona Spain with Lukas Hoffmann and Jane Hayes Greenwood. Come and visit us at our stand, Booth S4, or have a look online, on the website or on SWAB’s instagram profile. During this time the work will be also available to view on GiG Munich’s Artland page.
Sadly, the exhibition will have to be postponed till further notice. The work was lost in the post. Hopefully we can make the exhibition happen later in the year, most likely in October. We apologise for the inconvenience caused.
GiG Munich is happy to present the next instalment of the series Thinking Nature, featuring new work by Johanna Strobel. For her solo exhibition low affinity, Johanna Strobel creates rhizomatic macramé-like structures from USB extension cords, using them to power her plexiglas and paraffin sculptures.
Entropy, the fact that once the USB 2.0 cable exceeds a certain length information gets lost while power still remains, forms the central component of this work. It ties together the ancient idea of ‘ether’ as a medium through which light travels, the fluid physics of translucency, and the decorative and practical craft of knot-making. Her practice is informed by her background in science, and explores such unwieldy concepts like time and space, information and entropy, language, the creation, attribution or suspension of meaning and the everyday perception and precipitation of these concepts in mundane life.
Johanna Strobel is an interdisciplinary artist from Germany, currently based in New York. She holds degrees in Information Science and Mathematics and graduated in painting and graphics from the Academy of Fine Arts Munich with Honors (Meisterschuelerin of Gregor Hildebrandt) in 2017. In 2020 she received her MFA from Hunter College New York (New Genres). Since then she has participated in numerous exhibitions in Germany, Italy, Taiwan and the US, with a solo exhibition at the Municipal Museum Cordonhaus Cham, 2019. In 2020 her work was included in The Immigrant Artist Biennial, New York, USA, Jahresgaben, Kunstverein Munich, Germany and featured online by Hauser & Wirth. Johanna was a fellowship artist in residence at NARS Foundation, Brooklyn in 2021.
The exhibition will include an online discussion event with Dr. Beth Lord, Professor of Philosophy, School of Divinity, History, Philosophy and Art History at the University of Aberdeen.
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.
GiG Munich is pleased to present the new video work – Cosmetic.wished.explorer – by Jenny Dunseath, done specifically for the upcoming ‘On Repeat’ show.
Digital film embedded in GIG website for duration of the show.
Duration: 25 seconds
The film cosmetic.wished.explorer raises questions and discussion about the nature of authorship, appropriation, language and interpretation, exposing categories of truth and error. It is a palimpsest of presentations, and positions. Using the advances of current technology, perhaps this is a version of Spatium, the cosmic analogue of the Idea and the mechanism of abstract relations becoming actualised?
The film was made using Google Translate’s instant camera translation app. The app is designed to translate text from signs, handwritten notes, printed menus etc. by just pointing your camera. But what happens if it is used to ‘translate’ non-textual information?
When pointed at buildings (with no text to decipher) the app attempted to ‘translate’ the building in front of it and revealed a magical quality by virtue of its translation of nothing into a different time and place. The unpredictable effect of producing deciphered gibberish revealed a unique series of language constructs.
The title refers to the 3-word location of the filmed building. The 3 words generated from what3words is a new simple method used to describe global locations. In it, the world has been divided into a grid of 3m x 3m squares and each one assigned a unique 3-word address. It proposes that the system enables anyone can accurately find any location and share it more quickly, easily and with less ambiguity than any other system. It uses grid and language to reveal, classify and order.
Repetition. Not opposed to originality. Not the repetition of the same. But a call to productivity. To discovery and experimentation. To repeat is to start again, over and over. It is to affirm the unexpected and the new.
GiG Munich is pleased to present the new solo exhibition by Munich artist, Stefanie Ullmann, ‘peaches N cream.’
For the exhibition the artist has produced a new body of work,a series of large-scale paintings and smaller watercolours that wear their bright, pastel colours lightly.
Always a thoughtful and reflective painter, Ullmann has long pursued her unique kind of minimalism, one that slowly alerts us to the most minute of painterly gestures, meditating on the difference between the accidental and the deliberate. A certain roughness of texture perhaps, a brushstroke carelessly meandering across the raw canvas, a hint of colour, a smudge. In the past she achieved this through overworking her canvases, often painting and repainting the same distressed surface. For the exhibition she changed approach, to bring in a new lightness of touch. In an intellectual climate where it is more common to think the supplement or indeed, excess, she makes paintings according to the dictum of the ‘not too much / just enough.’
Beletage – images and text 15th September – 27th October
Tim Bennett, Beletage, installation view.
Tim Bennett, Beletage, installation view.
Tim Bennett, Still Standing, 2017,185 x 55 x 55 cm, plaster, steel and lacquer.
Tim Bennett, Untitled (Viel Geld und kleines Glied, kauf er sich doch ne’ Glockenbachsuite), 2017, 246 x 246 x 80 cm, plaster, plasterboard, wooden frame and steel.
Tim Bennett, Untitled (Wir wollen euch nicht ihr huhren Kinder), 2017, 50 x 50 cm, plaster, plasterboard, wooden frame.
For his solo exhibition at GiG Munich, Tim Bennett (b. 1973, Rochdale) has created a new body of work, consisting of one large freestanding panel, Untitled (Viel Geld und kleines Glied, kauf’ er sich doch ne Glockenbachsuite), one small type painting, Untitled (Wir wollen euch nicht ihr huhren kinder) and one column-like structure resting on tangled steel, Standing Still. The starting point for the work was the process of gentrification, especially visible in the surrounding Glockenbach area. The plasterboard panels incorporate graffiti slogans, including one seen recently on the side of the newly built Glockenbachsuiten; Standing Still resembles a re-enforced concrete column, as found on a building site, toppled over during a rampage.
Despite its political aspects, the work is not intended to be a critique of the capitalist system of which gentrification is only a symptom. It is neither the kind of critical political art found many cultural institutions, nor a provocative gesture along the lines of urban artists such as Banksy. Instead, by acknowledging the all-subsuming nature of capitalism, Tim Bennett works from within. He takes a graffiti slogan and quite literally, by carefully remaking it in plaster, gentrifies it.
His work engages with the structure of disavowal characteristic of corporate anti-capitalism. Such is the time in which we live that most if not all anti-capitalist gestures have been incorporated within the capitalist system, alternative cultures given space in the mainstream. Graffiti slogans are a particularly ineffectual kind of protest, precisely because they offer us the space for rebelliousness – who doesn’t find these slogans a little bit funny? – while leaving us free to participate in capital exchange without guilt or shame. Their kind of protest leaves our status as consumers intact.
By incorporating corporate anti-capitalism structure of disavowal within his work, Tim Bennett’s Beletage demonstrates how we are participants in the process of gentrification we allegedly deplore. He does so however, with humour and good grace.
Ausstellungsdauer: 16. September – 27. Oktober 2017
Geöffnet: Montag – Donnerstag, 15-18 Uhr,
bitte nach Vereinbarung unter 01795662699 und email@example.com
Beletage, Tim Bennett’s first show for GiG Munich takes gentrification as a theme. Taking the anger evident in the scribbles and defacement of gentrified property as his starting point, he incorporates these acts of destruction into his formal sculpture. “Yuppies verpisst euch” can be glimpsed in the large, freestanding picture made of plasterboard; a broken reinforced column stands precariously in front of it, as if left behind after some kind of rampage.
The work dissects the mechanisms of protest, to demonstrate the extent of our complicity in the workings of capital. It acknowledges our current inability to offer any viable political-economic alternative to the capitalist system.
Tim Bennetts erste Ausstellung für die GiG Munich – „Beletage“ – setzt sich mit dem Thema Gentrifizierung auseinander. Indem er die Wut, die sich in den Schmierereien und Verunstaltungen von gentrifiziertem Eigentum als Ausgangspunkt seines Werks nimmt, integriert er diese Akte der Zerstörung in seine formellen Skulpturen. „Yuppies verpisst euch“ kann man in dem großen, freistehenden Bild aus Gips lesen; eine gebrochene, verstärkte Säule steht gefährlich nah davor als ob sie so nach einer Randale einfach zurückgelassen worden wäre.
Die Arbeit analysiert den Mechanismus des Protests, um unser Ausmaß an Komplizenschaft bezüglich der Funktionsweise des Kapitals deutlich zu machen. Es bestätigt unsere aktuelle Unfähigkeit irgendeine realistische politisch-wirtschaftliche Alternative zum kapitalistischen System zu finden.