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

drAwn 2gether: Dan Wallis

Plan of Coiled Object

The process of drawing is fundamental to my practice as a sculptor. It can at times direct me rigidly so I can practically construct an object and at other moments be a fluid and abstract spatial origin.

I have been making these cut out drafts of objects for a while now, they help me develop complex structures and visualise a spatial hierarchy of a virtual object.

Perhaps the use of a scalpel to draw instead of a pencil or ink blurs the line between two dimensions and three with its resulting depth. However the information taken from the resulting pictorial image does not rely on the carved dimension only the line removed or added as vinyl.

The image primarily illustrates two things; one face of a three sided object and a coloured detail that rotates around these three faces.

The resulting image seems abstract yet is actually a diagram or map of a potential thing.

Daniel Wallis 2014.

drAwn 2gether: Joanna Phelps

DiomiraDiomira

Diomira…a city with sixty silver domes…the multicoloured lamps are lighted all at once.

(Italo Clavino, Invisible Cites)

Cut or torn, carefully placed or hidden between layers of pattern; the various components merge to form a no-mans land where they can create and inhabit a space of their own.

The title of this piece is borrowed from ‘Invisible Cities’ by Italo Calvino.  Calvino’s imagined cities provide a quasi-narrative for this work that locates itself somewhere between the realms of drawing, painting and collage.

Joanna Phelps. 2014

drAwn 2gether: Rebecca Partridge

Night Sea (Study)

Night Sea (Study) relates to an ongoing series of paintings, ‘Notes on The Sea’. Consisting of twenty four minimal photorealist paintings (shown in sets of 12) the works depict calm, fog-veiled seascapes as polarities of night and day. In this piece the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, the works are an attempt to rationalize the epitomised romantic landscape through a meditative practice which plays with various senses of rhythm. Rebecca Partridge 2014

drAwn 2gether: Will Tuck

Drawing is not something I think of as particularly relevant to my everyday practice as I usually make paintings with an airbrush; so when asked to participate in this show, I found myself unsure about what to produce.

I was attracted to the idea of drawing the white noise seen on a television screen, because it reflects this feeling of being stuck, of being a subject, which also ‘jams’ itself.
The image is abstract in one sense and photoreal in another – the lines are the result of my camera having a shutter speed fast enough to record the television’s cathode ray.
As I worked on the drawing other aspects occurred to me. White noise is approximately 1% residual energy from the Big Bang and I liked the idea of visually representing (albeit in a small way) of this primal energy.
A friend also mentioned that some people believe the dead use white noise to communicate with the living and I thought the idea of drawing as a kind of portal was also interesting. Maybe it contains a message from the afterlife!  Will Tuck 2014