We breathe the remains of everything that was

Zuza Piekoszewska, Natalia Karczewska, Magda Starska, Grzegorz Bożek, Paweł Marcinek und Przemysław Piniak

(curated by Łęctwo)

31.07 – 19.08.2022

Lothringer 13 Studio, Lothringer Straße 13, 81667 Munich

Opening: Sunday 31st July, 3 – 8 pm

Guest Speaker: Dr. Sebastian Truskolaski, 6 pm

Zuza Piekoszewska, Future Traveller, 2020, metal, bioplastic and acrylic

‘We breathe the remains of everything that was’ is the first of the exhibition series ‘Re-collection’ organised by GiG Munich at Lothringer 13 Studio from July to December 2022. 

GiG Munich is currently operating nomadically as GiG air, presenting work at different locations both physical and virtual. For 2022, Lothringer 13 Halle  invited GiG Munich to produce the ‘Re-collection’ exhibition series at the Lothringer 13 Studio, a continuation of the previous series ‘Thinking Nature’ that took place at GiG Munich in 2021, For this first exhibition at a new location, GiG Munich collaborates with the hybrid space Łęctwo run by Przemek Sowiński, to present the work of Zuza Piekoszewska, Natalia Karczewska, Magda Starska, Grzegorz Bożek, Paweł Marcinek and Przemysław Piniak.

If GiG Munich’s focus has always been the more abstract and theoretical, Łęctwo’s interests tend to lie in the immediate and physical, as well as the intimate. Łęctwo’s programme of contemporary art always has had this utopian element, art as a deeply personal drive to transform the surrounding reality, enacting real change in our cognitive lives. In their exhibition together, GiG Munich and Łęctwo look together at the idea of cultural memory, in relation to nature, biology and human.

 

“Wir atmen die Überreste von allem, was war” ist der erste Teil der Ausstellungsreihe “Re-collection”, die von GiG Munich im Lothringer 13 Studio von Juli bis Dezember 2022 organisiert wird. 

 GiG Munich ist derzeit als GiG air nomadisch aktiv und präsentiert Arbeiten an verschiedenen Orten, sowohl physisch als auch virtuell. Für 2022 hat die Lothringer 13 Halle GiG Munich  eingeladen, die Ausstellungsreihe “Re-collection” im Lothringer 13 Studio zu produzieren in Fortsetzung der Reihe “Thinking Nature”, die 2021 bei GiG Munich stattfand. Für diese erste Ausstellung an einem neuen Ort kooperiert GiG Munich mit Łęctwo von Przemek Sowiński und zeigt Arbeiten von Zuza Piekoszewska, Natalia Karczewska, Magda Starska, Grzegorz Bożek, Paweł Marcinek und Przemysław Piniak.

Während sich GiG Munich seit jeher auf das Abstrakte und Theoretische konzentriert, liegt das Interesse von Łęctwo eher im Unmittelbaren und Körperlichen sowie im Intimen. Das Programm von Łęctwo für zeitgenössische Kunst hatte schon immer diesen utopischen Aspekt, da es die Kunst als einen zutiefst persönlichen Antrieb zur Veränderung der uns umgebenden Realität ansieht, der einen echten Wandel in unserem kognitiven Leben bewirkt. In ihrer gemeinsamen Ausstellung befassen sich GiG Munich und Łęctwo mit der Idee des kulturellen Gedächtnisses in Bezug auf die Natur, die Biologie und die menschliche Existenz.


Na każdych kroku trafiamy na rozciągnięte w czasie pozostałości naszej własnej egzystencji. Szczątki i pyły poprzedniego istnienia przenikają nasze płuca, przywołując pamięć tego co robili nasi przodkowie. Pozostawione przez nas rzeczy stają się surowcami nowych procesów, a śmierć  jest tylko epizodem nigdy niekończocęgo się cyklu. W tym wszystkim najbardziej realna wydaje się teraźniejszość, ale czmyże jest skoro ciągle się od nas odsuwa. Każdy nasz oddech wypełnia atmosferę, stając się przeszłością w chwili zaczerpnięcia nowego. Każdy nasz wydech zawiera ułamek przewidywanej przyszłości. Te dwa czasy pozostają w ścisłej relacji. Być może odzyskujemy to, co już dawno zniknęło nam z zasięgu wzroku. Ciągłość rzeczy, w której każda materia, przeszłość i przyszłość przenikają do nas horyzontalnie, nie tylko na poziomie odczuwania metafizycznego, ale realnej zmiany genów, dając nadzieję na zupełnie inną, hybrydyczną formę istnienia.

Przemek Sowiński

At every step, we encounter the remnants our own existence spread out in time. The debris and dust of our previous lives penetrate our lungs, evoking the memory of what our ancestors did. The things left behind by us become the raw materials of new processes, and death is only an episode of a never ending cycle. In all of this, the present seems to be the most real, but what is this present, when it always moves away from us? Each of our breaths fills the atmosphere, becoming the past with every new gulp of air we inhale. Each exhaled breath contains a fraction of the foreseeable future.  These two times remains in close relation.  Perhaps we are recovering what has long since disappeared from our sight. The continuity of things, in which all matter, past and future permeate us horizontally, not only at the level of metaphysical feeling, but of real genetic transformation, giving hope for a completely different, hybrid form of being.

trans. Magdalena Wisniowska

Auf Schritt und Tritt stoßen wir auf die zeitlich gestreckten Überreste unserer eigenen Existenz. Der Schutt und Staub unseres früheren Lebens dringt in unsere Lungen ein und ruft die Erinnerung an das hervor, was unsere Vorfahren getan haben. Die Dinge, die wir zurückgelassen haben, werden zu Rohstoffen für neue Prozesse, und der Tod ist nur eine Episode in einem nie endenden Kreislauf. In all dem scheint die Gegenwart am realsten zu sein, aber wie kann die das sein, wenn sie sich ständig von uns entfernt. Jeder Atemzug, den wir nehmen, füllt die Atmosphäre und wird in dem Moment, in dem wir einen neuen Atemzug nehmen, zur Vergangenheit. Jedes Ausatmen enthält einen Bruchteil der vorhersehbaren Zukunft. Diese beiden Zeiten stehen in engem Zusammenhang. Vielleicht holen wir zurück, was schon lange aus unserem Blickfeld verschwunden ist. Die Kontinuität der Dinge, in der alle Materie, Vergangenheit und Zukunft uns horizontal durchdringen, nicht nur auf der Ebene des metaphysischen Gefühls, sondern der realen genetischen Transformation, die Hoffnung auf eine völlig andere, hybride Form des Daseins gibt.

Low Affinity

Johanna Strobel

14.10-14.11.2021

 

 

Johanna Strobel, Low Affinity, 2021, installation view

Johanna Strobel, Low Affinity, 2021, installation view

Johanna Strobel, Low Affinity, 2021, installation view

Johanna Strobel, Low Affinity, 2021, installation view

Johanna Strobel, Low Affinity, 2021, installation view

Johanna Strobel, deep connectedness, 2021, usb 2.0 extension cords, paraffin, LEDs, plugs, size variable

Johanna Strobel, deep connectedness, 2021, USB 2.0 extension cords, paraffin, LEDs, plugs, size variable (detail)

Johanna Strobel, Low Affinity, 2021, installation view

 Johanna Strobel, low affinity (blue), 2021, USB 2.0 extension cords, paraffin, LEDs, size variable, approx 200 x 30 x 30 cm

Johanna Strobel, low affinity (blue), 2021, USB 2.0 extension cords, paraffin, LEDs, size variable, approx 200 x 30 x 30 cm, (detail)

 Johanna Strobel, low affinity (white), 2021,  USB 2.0 extension cable, paraffin, LEDs, size variable, approx 200 x 35 x 35 cm (detail)

Johanna Strobel, low affinity (red), 2021, USB 2.0 extension cable, paraffin, LEDs, size variable, approx 200 x 30 x 30 cm (detail)

 Johanna Strobel, the duration of the present (red/blue), 2021, oil on wood, microcontroller, minimotors, acrylic mirror, USB cable, plug, 30 x 20 x 20 cm

 Johanna Strobel, false friends,2021, acrylic mirrors, glass, aluminum, clockworks (clockwise and counterclockwise), LEDs, USB cable, each approx. 25 x 25 x 5 cm 

 Johanna Strobel, figures, 2021, oil on wood, microcontroller, motion sensor, USB cable, LEDs, plug, acrylic mirror, rubber bands, 30.5 x 46 x 10 cm

 

 

 

The word ‘plane’ conjures up an image of a brightly lit field, on which everything and anything may stand.The field in this image is squarish, with a mathematical axis, ‘x’ cutting one way, ‘y’ the other, and ‘z’ upwards and downwards, together mapping out a grid with each thing in its own little box. To make connections between things we draw (mostly) straight lines, from one point to another.

Deleuze and Guattari would argue that we have this image of the plane because of the link between ‘plane’ and ‘plan’. When we think of a plane this way, it acts as a hidden principle.We may not see the grid itself, but the grid is what makes things visible to us. It causes the given to be given by giving things their structure, organising them, charting their development and growth. It is a plan(e) of organisation and development, a genetic plan(e) of evolution. Because we do not see the principles by which it organises things, only the result of its labours, the plane is transcendent to us and things, and likened to an idea in the mind of God.

For us the viewers, marked as we are by the ‘confirmation and selection bias’ and victim to the ‘clustering illusion’ we look for these hidden principles finding patterns where there are none, making connections between things that are not in any way related. One such idea is central to the work Johanna Strobel shows at GiG Munich, the idea of aether, the fifth element of a classical world of four, in which everything can be divided into fire, earth, air and water. It was used to explain how stars stayed up in the sky, and moved across the heavens.

But there is another idea of a plane, in and on which there is no form or structure, only activity and its lack.This plane is populated by sub-atomic particles always in the process of transformation, but with no specific aim in mind. Depending on their activity, their speed and slowness, they compose assemblages, as Deleuze and Guattari write, ‘compositions of speed’. But they do not develop, organise according to a principle.They connect, disconnect, transform, reform.What happens, happens, in endless proliferation. Instead of development there is constant dissolution.

Johanna Strobel’s work conjures up both plan(e)s.There is a longing for principle, apparent in her systematic approach, plug going into socket, light being red or blue, going on or off.We can map this world quite easily on a grid. It is clean, white, metallic.There is also the understanding of a far more dissolute world in which entropy rules, of information lost through USB cables and mnemonic devices of knot-making failing.This world is unstable, reckless, and somehow also inexplicably present.

 

 

 

LOST AND FOUND

Julia Klemm, Justin Lieberman, Lilian Robl, Pat Shoulder, Johanna Strobel

30.07 – 2.09.2021

Lost and Found, 2021, installation view

Lost and Found, 2021, installation view

Lost and Found, 2021, installation view

Lost and Found, 2021, installation view

Lost and Found, 2021, installation view

Johanna Strobel, False Friends, 2021, acrylic mirrors, plastic, glass, aluminium, clockworks 

(clockwise and counterclockwise), LEDs, USB extension cords, digital timer, size variable (each approx. 25

x 25 x 5 cm)

Julia Klemm, untitled, 2020, ceramic, glaze, second-hand ceramic leopards, 76 x 30 x 33 cm

Julia Klemm, untitled, 2020, ceramic, glaze, second-hand ceramic leopards, 76 x 30 x 33 cm

Lost and Found, 2021, installation view,

Julia Klemm, untitled, 2021, ceramic, glaze, second-hand ceramic leopard, 32 x 28 x 33 cm

Julia Klemm, untitled, 2021, ceramic, glaze, second-hand ceramic leopard, 32 x 28 x 33 cm

Julia Klemm, untitled, 2021, ceramic, glaze, second-hand ceramic leopard, 32 x 28 x 33 cm

Pat Shoulder, Sun Umbrella, 2020, Steel, paint, print on textile

Lost and Found, 2021, installation view

Justin Lieberman, Obscure Readability, 2020, ceramic, glass and pedestal with sand, 41 x 22 x 12 cm (Courtesy of Galerie Christine Mayer)

Justin Lieberman, Obscure Readability, 2020, ceramic, glass and pedestal with sand, 41 x 22 x 12 cm (Courtesy of Galerie Christine Mayer)

Lilian Robl,Winning Hearts and Minds, 2016, 5 min 55 sec (plus textile bag and assorted metal objects)

A naturalist, specifically an 18th century one, likes to classify. After an expedition to the jungles of some remote land he – and it is almost always a he – takes out his specimens and begins to compare. This one looks like the second, the third does not, the fourth has some features of the first two, but also some traits seen in the third. He makes up categories and puts labels on boxes, marking the time and place at which the specimens were found. He then takes out a scalpel and cuts them open in order to examine their inner structure. Here are the muscles and these are the breathing organs. This is the skin, and under the microscope he can see the epidermal structure. Visually speaking, the naturalist proceeds mimetically, by finding patterns and organising resemblances. He looks and compares. He judges accordingly. 

There are however animals that escape the naturalist’s grasp. Fictional beings like vampires and werewolves, who live in darkness of our imaginations and spread by infecting others with their poisonous bite – these can be easily dismissed as unworthy of our serious attention. Viruses and pandemics less so. A virus can hardly be deemed alive, reproducing only in the host’s body. Although it mutates, it does not develop to evolve into ever more complex organisms. While it can be placed into groups of similar viruses, it eludes the classificatory system with its orders, families, genera and species.

The exhibition ‘Lost and Found’ has a slightly dystopian, even post-apocalyptic quality, of various objects assembled in haste and then disregarded, leftovers from a Mad-Max film set. A preview exhibition, it consists of artists who will hopefully be part of GiG Munich’s ‘Thinking Nature’ 2022 programme, which examines the relationship between man and nature, as it presents itself in thought. These artists were selected because their practices are not of class and order, but rather of mutation and infection. We see this most in Julia Klemm’s sculpture were kitsch ceramic animals are broken up and then reassembled, set precariously on their rickety plinths. Pat Shoulder’s work is collaborative, a result of an exchange of letters between the two artists during the first lockdown. The order of time is put into question with Johanna Strobel’s installations and  logic disintegrates in Lilian Robl’s videos.  There is a celebration of nature’s structures in the glass turtle shells of Justin Lieberman but again this order is not that of the naturalist. As with the others, it is a viral order of an unnatural kind. 

Low Affinity

Johanna Strobel

CANCELLED

16.07. – 3.09.2021

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.

elements

Lukas Hoffmann, Andrea Zabric

26.11.2018 – 18.01.2019

 

fullsizeoutput_76e

 

Vernissage: Freitag 16. November, 18 – 21 Uhr,
16 November 2018 – 18 Januar 2019
Bitte nach Vereinbarung unter contact@gig-munich.com
Finissage: Freitag 18. Januar 2019, 19 – 21 Uhr

 

The exhibition elements, showcasing new work by Lukas Hoffmann and Andrea Zabric is GiG Munich’s first collaboration with Klasse Pia Fries, Akademie der Bildenden Künste München.

What connects the two young, upcoming artists is a shared interest in materialism, where their version of materialism belongs more to the philosophical developments centred around Speculative Realism than to the handmade, expressive variety traditionally associated with the activity of painting. Operating at the intersection of materialism and realism, they submit to the view that the primacy afforded to matter necessarily demotes the importance of the human understanding of it. If matter is all there is, then its reality must be encountered for itself. In their quasi-scientific, quasi-magical approaches, they reject the emphasis on the multiplicity of interpretations that art borrowed from dominant modes of contemporary critical theory (post-structuralism, deconstruction, psychoanalysis) in order to pursue an almost essential, almost dogmatic, grounding of reality. With this comes a violence, whether this is manifested in the high pressure Zabric submits her pigments to, or the highly polished weapon-like quality of Hoffmann’s metal work. They show that the material world, the inhuman one, is intense, forceful, elemental.

 

Magdalena Wisniowska 2018

 

Susanne Wagner

Angelina

29.03 – 11.05.2018

Angelina 1-2

Susanne Wagner, Angelina, 2018, installation view. Photo courtesy Susanne Wagner.

 

Angelina 2

Susanne Wagner, Angelina, 2018, 77 x 40 x 40 cm, painted ceramic. Photo courtesy Susanne Wagner.

 

Angelina 3
Susanne Wagner, Angelina, 2018, 77 x 40 x 40 cm, painted ceramic. Photo courtesy Susanne Wagner.

 

Angelina 4

Susanne Wagner, Angelina, 2018, 77 x 40 x 40 cm, painted ceramic. Photo courtesy Susanne Wagner.

 

Angelina 5

Susanne Wagner, Angelina, 2018, 77 x 40 x 40 cm, painted ceramic. Photo courtesy Susanne Wagner.

 

GiG Munich is excited to present Angelina, the solo exhibition by German video artist and sculptor, Susanne Wagner.

For the exhibition Wagner has produced a new body of work, a large-scale, site-specific floor installation consisting of seventy seven almost identical square ceramic tiles, each 40 x 40 cm individual tile topped by a slightly large than life dome of the female breast. These tiles are arranged in the exact centre of the room in a diagonal grid-like fashion, four or five tiles across, seventeen tiles deep. They are also painted to emphasise this diagonal pattern, again with each tile divided into quarters, or four squares, all in bright, non-primary colours. To stand at the doorway and to look down at the work is to see a pleasing check-board pattern of squares and undulating lines, salmon pinks, lemon yellows and different shades of brown moving across the room.

The arrangement recalls postmodern critiques of originality, best articulated by Rosalind Krauss in her 1986 essay, ‘Originality of the Avant-garde.’ As she argued, any work that makes use of the grid, cannot lay claim to originality, because the grid is a visual device that can only bear repeating. The same way there is no original and unique grid, there is no unique and original art object. Instead, Krauss rewrites the art object as text, whose meaning is determined by the relation it has with other texts. As a text the work of art has no point of origin and no essence; it is only something that can be endlessly reconfigured. In the case of Wagner’s floor piece, even though each tile is handmade and therefore has unique quality, none can claim to be the one original tile, more meaningful than the other.

But what makes Wagner’s work so exciting is that this repetition pertaining to postmodernism’s discussions of originality is complicated by another kind of repetition arising from a very different kind of discourse. For readers of Judith Butler, it has a performative aspect that addresses the ways in which the categories of gender are constructed in a heterosexual normative society. In this way, it is also very timely, considering that in our current era of ♯MeToo activism, many of the norms consolidating sexual and gender hierarchy are being questioned.  It comes down to Wagner’s use of the breast. The female breast is a primary sexual characteristic but it also functions as a signifier of gender. Real women have breasts – and much of the uproar surrounding Angelina Jolie’s mastectomy had to do with our identification of her as the well-endowed Laura Croft, video game sex symbol supreme.  By isolating, enlarging and repeating the form of the female breast Wagner demonstrates that gender is not a given fact. It is neither an expression of some internal essence, nor is it an objective ideal to which we may aspire to. Gender is something we perform, meaning it is brought about through certain acts on our part. And these are repetitive and often mundane, so much so, that they give gender the illusion of a stable identity. The gender identity we take for granted – with all the notions of ‘real womanhood’ that this assumes – are revealed to be nothing more than a re-enactment of a set of meanings already socially and culturally established.

What this means in turn is that the same acts, which give the illusion of stable identity are also the ones that reveal it to be illusory at the moment repetition fails.  Wagner’s work alerts us to the fact that the same process of repetition, which constructs the gender categories binding us, could also be the key to their undoing.

Magdalena Wisniowska 2018

Susanne Wagner

Angelina

 

 

Angelina 2

Eröffnung: Mittwoch 28. März, 18- 21 Uhr

Ausstellungsdauer: 29. März – 11. Mai 2018

Öffnungszeiten: Montag – Donnerstag, 15 – 18 Uhr

Bitte nach Vereinbarung unter contact@gig-munich.com

 


 

GiG Munich is excited to present the new, site-specific floor installation “Angelina” by German artist, Susanne Wagner.

 

Best known for her video work, Wagner’s current practice has shifted towards sculpture and now involves the use of ceramics in the production of large-scale modular pieces, often juxtaposed with representations of the female body.  While the new work addresses themes of repetition and originality, it also complicates the postmodernist narrative by showing how repetition participates in the cultural construction of sex, gender and the body as ‘original’ because ‘natural’ foundations of identity.

 

With their upward facing breasts, the repeated floor elements of “Angelina” aim (quite literally) to bring to relief the power structures responsible for our assumptions about gender, in an up-to-date tabloid context of Angelina Jolie’s mastectomy, Emma Watson’s feminism-lite and ♯MeToo Twitter activism.

Lou Jaworski

 “Nothing” work list

 

fullsizeoutput_1c5cLou Jaworski, Hyper Figure standing, 2017, ferrite magnet, dimensions variable

 

fullsizeoutput_1c5dLou Jaworski, Hyper Figure lying, 2017, ferrite magnet, dimensions variable

 

fullsizeoutput_1c5eLou Jaworski, Untitled, 2017, iron meteorite, brass pencil. 14 x 0,8 x 0,8 cm

 

fullsizeoutput_1c5fLou Jaworski, Untitled, 2017, iron meteorite, brass pencil. 14 x 0,8 x 0,8 cm (detail)

 

fullsizeoutput_1c60Lou Jaworski, Untitled, 2017, sewing needle, gold 7 cm

 

lou2
Lou Jaworski, Presence (silent version) 2017, vinyl 12 inch, edition of 2+1 AP

 

All images courtesy of the artist.