We are happy to announce GiG Munich’s latest exhibition, opening on the 10th of September, 3 pm. Hope to see many of you there!
“Abstract Pleasures” brings together a site-specific sculpture installation by Kathrin Partelli and Thomas Wieland’s series of photographs, Sleeping Beauties. The exhibition unites Partelli’s ephemeral, open-ended structures with Wieland’s images of empty Octoberfest rides to present the pleasures of contemplation: the enjoyment found in complex constructions.
Kathrin Partelli creates sculptures and large-scale installation pieces in the anti-monument tradition. Thomas Wieland is a photographer, who draws on his experience in the history of science. Already exhibiting on the online platforms, LandscapeStories and Humble Art Foundations, we are pleased to be the first gallery to present his work.
“Abstract Pleasures” bringt eine standortspezifische Skulptur von Kathrin Partelli und die Fotoserie “Sleeping Beauties” von Thomas Wieland zusammen. Sie vereint Partellis flüchtige, offene Strukturen mit Wielands Bildern der menschenleeren Fahrgeschäfte auf dem Oktoberfest, die das Vergnügen der Komtemplation präsentieren: die Freude, die in komplexen Konstruktionen zu finden ist.
Kathrin Partelli schafft Skulpturen und großangelegte Installationen in der Tradition der Anti-Monumente. Thomas Wieland ist ein Fotograf, der aus seiner Erfahrung in der Technikgeschichte schöpft. Nachdem er seine Arbeiten bereits auf den Onlineplatformen LandscapeStories und Humble Art Foundation ausgestellt hat, freuen wir uns diese nun als erste Galerie zu präsentieren.
trans. Nadja Gebhardt
GiG Munich is happy to introduce the work of Jo Love, a British artist living and working in London, course director at Camberwell College of Art, University of Arts London and senior lecturer at the University of Brighton. Jo Love has recently completed her PhD at Chelsea College of Art and Design, and her show at GiG Munich marks the continuation of her research into the viewed surface, the materiality and the time of the printed photographic image. Her work combines drawing with printmaking and photography, and uses the specks of dust found on the surface of the photographic image as the starting point of her investigations.
At GiG Munich Jo Love shows two bodies of work. The first consists of a series of landscape drawings made in collaboration with a senior scientist at the Natural History Museum in London. In this series Jo Love re-draws the electron microscope images of marble and graphite particles in order to reclaim the tactile materiality lost to modern technology. She also imbues the image with a different kind of temporality to that of the digital experience.
In the second body of work, Jo Love draws over a digital print of a video still, covering the inkjet surface with a layer of graphite. Only small pockets of saturated colour are left exposed. Taken together, the two different layers create an optically unstable image, disturbing and disrupting the act of viewing.
Both drawings operate at the limits of human perception and invoke ideas of the technological sublime. As Jo Love states, “My interest lies in constructing images which are resonant with my experience and perception of the world: more fractured, open and complex than the more coherent image can convey, and one that offers an arena within which we can contemplate themes of time, memory and mortality.”
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
A young Vietnamese man poses with a US soldier. The American is holding the remains of an amputated arm, removed to prevent the Vietnamese man from dying of an infected gunshot wound. In a gesture of gratitude to the American, the cleaned bone was offered as a keepsake. Unlike many who received similar war gifts, the US soldier eventually returned to Vietnam. This year the missing arm was finally reunited with its owner.
Jack Lovell currently lives and works in London. His practice explores the hidden complexity and materiality of the found photograph. The use of enigmatic staged photography invites the viewer to consider the space that exists inside a ‘simulated reality’. JL 2013
I’m interested in the potential of images within image-literate societies: as visual information, as surrogates for ideas and as things. In Crossed Fingers, we see a familiar hand gesture staged for the camera. In the 1950s an American safe company used this image to criticise our reliance on luck and our faith in the supernatural. But images have a habit of not being the best at doing what they were intended to do. So what does this image mean now, here, and now, and now?
Mike Merkenschlager is a London-based visual artist, working primarily with photographic images. MM 2013