Drawings / Painting

‘Die Gesetze der Malerei. §2: Ein Gemälde ist eine Fläche’, Sumiyo Nagai @ Espace Surplus, March 2nd, 2012

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Ein Gemälde ist eine Fläche = A painting is a surface

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Duchamp dreamt of the fourth dimension, of time going by and of movement within the strict frame of the picture. But there was no longer a painting. We decided to regard the surface as a dance floor, to resist the urge to enter the endless space inside the frame, to stay on the surface and dance. And we invite you to dance.

There is a deep mistrust of the spatial illusion in all painting and at the same time a great need to penetrate the canvas in all of us. Let’s try to stay afloat in the vast landscape of the painting while the eyes dance in the rhythm of colour and form. There is the elegance of the marionette to be reached, the oblivious grace of those lost in the pictorial space.

Text source: http://www.espace-surplus.com/index.php?/exhibition/past/


‘Secret Universe II’ from Paul Laffoley @ Hamburger Bahnhof, December 3rd 2011

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In an exhibition series entitled secret universe, the Hamburger Bahnhof is dedicating itself to artists who have largely gone unnoticed within the established art discourse and will feature them in monographic projects.

The second exhibition in this series presents works by the American artist and architect Paul Laffoley . Since the mid-1960s, Laffoley has confronted scientific, philosophical and spiritual matters in his work with equal verve.

He is influenced in his work by his collaboration with the visionary architect Frederick Kiesler, as well as by the theories of Buckminster Fuller and C.G. Jung and the literature of Johann Wolfgang Goethe and William Blake. Another factor that has left a mark on his work is the fact that Laffoley was once engaged by Andy Warhol to watch television through the night on his behalf so that he could keep abreast of events. 

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In his mostly large-scale works on canvas, Paul Laffoley devises complex theories and fantastical scenarios on time travel, the 4th or 5th dimension and cosmological and astrological questions. In accomplishing this, he creates diagrams, display charts or rigidly geometrically structured compositions in which text and image are woven together to form a whole. Underlying his elaborately structured paintings are multi-layered reflections, covering several disciplines at once, which he first lays down in writing before transposing them to a pictorial form. This is the first exhibition of Laffoley in Europe.

Source: http://www.hamburgerbahnhof.de/exhibition.php?id=31947&lang=en

Marc Brandenburg @ 032c, November 3rd 2011

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Marc Brandenburg by Paul Feigelfeld 

MARC BRANDENBURG is a multimedia artist who was born in 1965 in Berlin, where he currently resides and works. Brandenburg is known for his graphite-on-paper drawings that adopt the look of photographic negatives. Interested in scenes of power and excess, his drawings, made from original and found photographs, depict crowds at soccer games and political protests, as well as celebrities and consumer objects appropriated from mass media.

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“I’m interested in people who embody something very contemporary and progressive, and yet seem removed from the current time. With their own style, their own stance, their own world vision, they simply can’t be characterized. Reinhard Wilhelmi, Michael Jackson and Yves Saint Laurent are all examples. Yves’ legendary nude portrait, taken to his own specifications by Jeanloup Sieff, was an absolutely modern and confident picture that embodied the homosexual man. Michael Jackson blew up race, gender and age boundaries. He was the most radical entertainer of the 20th century. Through his extreme wealth, he transformed himself into an art figure with undefined racial and gender identity. In addition, he fathered three white children. I don’t believe there is a middle-class African American family in North America that would be awarded white children for adoption. This kind of tragic corruption reveals just how far we are from a truly free society. For Michael Jackson to have these children was a flamboyant demonstration of political power.”

For 032c Workshop’s exhibition vitrine, Brandenburg has created a unique phosphorescent, film-like montage installation of his works. The idea to incorporate black light to his drawings and prints is the result of a chance visit to the famed Berlin bar, “Kumpelnest 3000″. Distortion and disorientation enforce a concentration on some of the essential aspects of an image. By hand drawing photographic negatives, Brandenburg intimately disentangles the mediating forces that manifest popular images.

Source: http://032c.com/workshop/marc-brandenburg/