Lou Jaworski, “Nothing,” opening on Thursday 9th of November!
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.
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.
trans. Nadja Gebhardt
Hope to see everyone there!
Over the years painting has been many different things. Painting had meant something; it could do things. It was utopian in its aspirations. Then painting was dismissed as elitist and patriarchal. There was the death of painting and its inevitable return. Good painting, bad painting, painting that could be critically viable, provided it tests the limits of representation. What painting was not, was easy. The painter and his struggle was a dominant 20th century narrative, clearly manifest on canvas, visible for all to see.
For the group of young artists participating in EASY, Jonah Gebka, Hannes Heinrich, Steffen Kern, Janka Zöller, the challenge is different. Their effort goes into removing all traces of worry from the pictorial surface, so that painting becomes, quite suddenly, easy. “Easy” is their strategy, their way into painting. It is also a way in for us, painting’s audience, to discover what painting might be.
“Organic” in its current usage tends to be associated with organic farming, pesticide and chemical fertilizer free – the equivalent German term would be the familiar “bio” from the “bio” supermarket range. Food here is produced organically, meaning that it stays true to its biological origin. Organic is, chemically speaking, carbon-based.
Etymologically however, “organic” derives from the Greek “organikos” meaning “relating to organ or instrument.” An organic landscape is a landscape, which is organised. The natural environment surrounding us is a consequence of human activity, whether this is farming, building, mining etc. But the concept itself refers to a construction. Landscape as such is always constituted through a prior representation. There are picturesque landscapes or sublime ones. Landscape consists of a specific format, with a horizon, back- and foreground and certain distinguishable features. An inorganic landscape would be one that lacks this kind of organisation. It would somehow be free of human activity, both physically and conceptually. In an extreme sense, it would be non-biological, without animal or plant matter. It would also present a challenge to the relation we establish with it. Without the structure landscape offers, nature becomes something we cannot relate to.
The three artists GiG presents as part of the current exhibition, inorganic landscape – Stefanie Hofer, Rebecca Partridge and Miriam Salamander – work with this constructed sense of landscape, often employing traditional techniques to make its mediated nature more apparent.
To produce her etchings Miriam Salamander, first disassembles her chosen environment (in this case, the fields and meadows of southern England) into its constituent components (field, line, path, plant) to then reconstitute them in an idealised form. The etchings are both minimal and matter of fact, consisting of the least amount of mark making required to produce the landscape form.
Stefanie Hofer’s aquatints of classical and modernist gardens take a highly idealised vision of nature and manipulate it further. For GiG she has made two new prints, based on found images of the “El Cabrío” gardens, part of the larger El Pedregal development in Mexico City by Luis Barragán. The gardens were designed according to modernist utopian principles, enclosed spaces where one can retire and enjoy nature. In Stefanie Hofer’s aquatints this harmony of the natural and the manmade becomes darker and foreboding, dismissive of utopian claims.
Rebecca Partridge has a longstanding interest in synaesthesia as a means of relating to the outside world without recourse to representation. Watercolour landscapes of trees painted at a specific time and location are to resonate with ceramic abstract sculpture, producing a constellation of different stimuli. The experience the work demands is no longer bound to representation, but allows for a zone of mimetic relationality, where mimesis becomes a form of collusion with nature.
Both Miriam Salamander and Stefanie Hofer are Munich-based. Rebecca Partridge is a UK artist, currently living and working in Berlin.
Magdalena Wisniowska 2017
Undergoing preparation work! Set up begins this week!
Please also have a look at the artist’s website, http://www.michael-lukas.de
Eröffnung: Samstag, den 18. Juni 2016 um 15:00 Uhr
Einführung: Dr. Magdalena Wisniowska
Ausstellungsdauer: 18. Juni – 26. Juli 2016
Öffnungszeiten: Montag – Donnerstag 15:00 – 18:00 Uhr und nach Vereinbarung unter: firstname.lastname@example.org
Occupied Corner ist die neueste raumbezogene Arbeit von Michael Lukas, die er speziell für GIG Munich gestaltet. Die Installation ist eine fließende geometrische Konstruktion von Beziehungen, Verbindungen und Netzwerken, in der sich die einzelnen Elemente in ständiger Spannung befinden. In ihr vereint er Gemälde, Skulpturen und Zeichnungen, um unsere Rolle im größeren Zusammenhang einer globalen Landschaft zu untersuchen.
Der etablierte Münchner Künstler mit zahlreichen Einzel- und Gruppenausstellungen arbeitet auch als Kurator. Er organisierte Ausstellungen mit internationaler Besetzung u.a. in München den Weltkongress für Kartographie 2006 und in Berlin die von der Kulturstiftung des Bundes geförderte Ausstellung Luise. Die Inselwelt der Königin 2010.
Occupied Corner is the latest art installation by Michael Lukas, made specifically for the GiG Munich site. The installation constructs a fluid geometry of relations, connections and networks, its different elements held in continual tension. Incorporating painting, sculpture, and drawing, it critically examines our place within a larger global landscape.
Michael Lukas is a well-established Munich artist, with numerous solo and group exhibitions. He has also worked as a curator, most notably organising the World Congress for Cartography in 2006 and the Berlin exhibition, Luise Die Inselwelt der Königin in 2010.