until 31.10. | #2837ARTatBerlin | 68 projects, the project space of Galerie Kornfeld, presents the exhibition She Comes in Colours Everywhere from 11 September 2020 with works by the artists Gerold Miller, Pierre Descamps, Yorgos Stamkopoulos, Stephanie Stein, Lisa Tiemann, Schirin Kretschmann and Cyrill Lachauer, curated by Alexandra Alexopoulou.
The exhibition is a homage to our Berlin. The title, a quote from the Rolling Stones song “She’s Like a Rainbow”, refers to the personified city and its vibrant influence on artistic creativity. The participating artists live and work here, the urban space and city structure of Berlin are their constant source of inspiration, which is evident in the abstract and conceptual works in the show. The Covid-19 crisis has led many artists to turn even more to their immediate surroundings and to explore various aspects of the city and their life here. Although the artists are actively exhibited in other places, they have yet to be granted much visibility in their own city.
Gerold Miller (*1961) takes a special position in the show, as he is a long-established and important Berlin artist and has become a role model for many younger colleagues. His contribution is also the key work of the exhibition. I LOVE KREUZBERG (2008), depicts the sculptor’s relationship with the city. In the black-and-white photograph, Miller pulls one of his aluminium sculptures behind him on Oranienstrasse and scratches it, the sculpture’s surface is literally engraved by the city. With this act he declares his deep affection for the district where he had his studio for almost 20 years and which has strongly influenced his work.
he conceptual artist Pierre Descamps (*1975) focuses largely on portraying urban architecture. In his photographs, Descamps’ view concentrates clearly on geometric forms and emphasizes the formalism of urban constructions. In recent years, he has been placing minimalist concrete sculptures in public spaces as guerrilla actions, which he publishes via social media and posters and calls on skateboarders to use these objects. As part of the exhibition there will be an intervention in the public space on Fasanenstrasse.
In the landscape-like compositions of Yorgos Stamkopoulos (*1983) the idea of chance plays a central role, but the influence of the pulsating Neukölln cityscape – the colour of house facades, water, sky and parks – cannot be denied. The paintings are dynamic pictorial objects that fascinate in form and materiality: opulent, organic-looking fields of colour meet bare areas of the canvas, which the painter creates by removing paint. These drastic compositions of contemplative emptiness and abundance provide insight into a profound level of engagement with extroverted surroundings and conscious retreat.
The sculptor Stephanie Stein (*1972) deals with the acceptance of the crisis and its inevitability on a transcendental level. She is featured with a print specially conceived for the show titled MISS VERSTÄNDNIS. In her wall sculpture WIR SIND UNS NIEMALS NAH GEKOMMEN, the tension between two geometric metal bodies is shown. They are placed parallel to each other and there is seemingly a mental approach to open up to the counterpart but in fact the objects remain physically immobile.
A contrast is formed with the sculptures of Lisa Tiemann (*1981), which are characterized by a wonderful absurdity. This is expressed in the unconventional combination of materials and forms: coloured struts made of ceramic and papier-mâché lie nestled together on the floor, ceramic spirals hang on metal, or curled around a latex rope. Tiemann explores the dynamics of two elements, which surprisingly break out of their rigidity and interact. Her sculptures often appear as building elements detached from architecture, peculiar square beams, which, contrary to their reduced form, are moving organically.
Schirin Kretschmann (*1980) works in the field of tension between installative painting and its border areas to processual work forms. In the work SINK, developed especially for 68projects with objects made of soap and pigment, she transforms the perception of the exhibition space into a physical experience. In FORM ON THE DAY, which is shaped by the unpredictable results of sieving the pigment dust, she enables different perceptions of surface and depth, light and shadow. With FLOOR WORK the artist transports her Wedding studio floor into the exhibition space. The papers, which have been treated with abrasion and graphite dust, create an irresolvable irritation between the injuries to the delicate surfaces and the impression of a robust, metallic materiality.
Cyrill Lachauer (*1979) measures Berlin in colours in his film 32 m.a.s.l. NHN. – 114.7 m.a.s.l. NHN. (II) (2012) creating an ephemeral city map. At five different locations with different heights above sea level he ignited coloured smoke cartridges. Although each colour is assigned to a single point in the Berlin elevation system, such as lush orange smoke clouds rising from the Havel lakes, indicating the lowest point, the specific location plays only a marginal role. Although Lachauer follows the common surveying techniques, places are translated into metres above sea level, he is exploring the idea of synaesthesia. The coloured smoke converts the subjective into an abstract, fleeting form. The music for the film was composed and recorded by Ari Benjamin Meyers.
Text: Alexandra Alexopoulou
Opening: Friday, 11 September 2020, noon – 8:00 p.m.
Exhibition dates: Thursday, 13 August to Saturday, 5 September 2020
Special opening hours Gallery Weekend: Saturday, 12 September + Sunday, 13 September, each noon to 7:00 p.m.Zur Galerie
Exhibition She Comes in Colours Everywhere – 68 projects | Zeitgenössische Kunst in Berlin – Exhibition Berlin Galleries – ART at Berlin
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