post-title Streuli + Coste + Oderbolz | Your taste on the lips | FeldbuschWiesnerRudolph | 17.09.-15.10.2022

Streuli + Coste + Oderbolz | Your taste on the lips | FeldbuschWiesnerRudolph | 17.09.-15.10.2022

Streuli + Coste + Oderbolz | Your taste on the lips | FeldbuschWiesnerRudolph | 17.09.-15.10.2022

Streuli + Coste + Oderbolz | Your taste on the lips | FeldbuschWiesnerRudolph | 17.09.-15.10.2022

until 15.10. | #3556ARTatBerlin | FeldbuschWiesnerRudolph (FWR) presents from 17. September 2022 (Opening: 16.09.) the exhibition “Your taste on the lips” by the artists Christine Streuli (CH), Anne-Lise Coste (F) and Edit Oderbolz (CH) as part of ArtWeek Berlin 2022.

“Words on a page are incomplete. (…) Connection is collaborative. For words to have meaning, they have to be read.” Kae Tempest, On Connection, 2021

For Kae Tempest, connection is the key concept in a time of great divisions. In this context, artistic creativity is for her a bridge “to build deeper relationships with the world” – against deadening and for the revival of a new social and intercultural participation.

Thus, the title of the exhibition “Your taste on the lips” also conveys a sense of rapprochement. If the color-spotted composite of terrycloths on Edit Oderbolz’s rack makes one think of towels hung out to dry by precarious refugees at the sea, Anne-Lise Costes’ garlands of falling chains evoke the fear of their renewed use by an arbitrary power, and Christine Streuli’s multiplied array of an army of buttocks also demonstrates the struggle for equality.

For ArtWeek Berlin in September 2022, the artist Christine Streuli (CH), newly represented by our gallery, will occupy our exhibition spaces together with her highly esteemed artist friends, the conceptual artist Anne-Lise Coste (F) and the object artist Edit Oderbolz (CH), in a symbiotic all-over gesture. The key concepts of energy, body, activims and materiality are at the center. It is painted, printed, sprayed, as writing or in textile – these three artists of the same generation celebrate color as their central motif for expression, revolution and beauty.

ART at Berlin - courtesy of FeldbuschWiesnerRudolph - Edit Oderbolz - Horizontal Parallels
Edit Oderbolz, Horizontal Parallels (Green), 2022,
reinforcing steel, fabric, gouache, shells, 62 x 50 x 10 cm

Christine Streuli creates her paintings with a strongly moving canon of form and color. She rarely works with the classic painter’s tool of the brush – rather, she prints, sprays, pours or splashes paint onto her canvases. We recall with enthusiasm the intense energy through pictorial signs such as explosion, gesture, speed, (color) temperature with which she made the Swiss Pavilion at the Venice Biennale vibrate in 2007, creating an immersive combination of murals, paintings and monotypes.

The wall-sized large format “Nightshade #04” (2017) is inspired by the reverberant properties of the namesake medicinal plant, whose essence readily finds its use in times of stress and exhaustion to the point of pushing the boundaries of reality. To this end, a new series of works by the artist totaling five pairs of small-format paintings promotes the non-binary, human butt as an iconic motif. It is inspired by a small detail selected by Streuli from the postcard of a queer New York bar and combines in the image the academic contrapposto vibrating in the WiggelWiggel rhythm with the luminous color and grid structure of the aesthetics of Pop Art and advertising. In this way, the artist creates a conceptual tension between figuration and abstraction that is paired with Streuli’s empathy regarding her multicultural, social, and gender identity and integrity. Thus, her inner struggle with painting is always a desire for more freedom in her own work.

Christine Streuli (b. 1975 in Bern, CH) lives and works in Berlin. Since 2015 she has been teaching as a professor at the Berlin University of the Arts.
In spring 2017, the artist was awarded the Fred Thieler Prize of the Berlinische Galerie and had ebda. Her solo exhibition as well as in other international institutions such as Kunstmuseum Thun (2020), Museum Folkwang Essen (2018), Berlinische Galerie (2017), Haus am Waldsee and Kunstmuseum Luzern (2013), Aargauer Kunsthaus, Aarau (2008), Swiss Pavilion, Venice Biennale (2007), Kunsthalle Zürich (2005) and others. Streuli regularly exhibits in group shows, such as at the Kunstmuseum Winterthur (2019), the 19th Sidney Biennale and Kunsthalle Nuremberg (2014), Marta Herford (2010), Helmhaus, Zurich (2009), among others.
The artist’s works are represented in numerous collections such as that of the Kunsthaus Aarau, Kunsthaus Zürich, Sammlung Museum Folkwang, Sammlung Berlinische Galerie, Sammlung Kunstpalast Düsseldorf, Collections of the City of Zurich, Kunstsammlung Kanton Zürich, UBS Art Collection, Sammlung Bank Bär, Zurich and others.

While politics and the media like to use the term “narrative” to get lost in statistics and analysis in the search for meaning, goals and solutions to relevant problems, Anne-Lise Coste opens up to reality and looks – at the world, its brutality, its beauty and its relics.

Two of the artist’s central new works, the neon piece “Police” (2022) and the large-scale spraypaint “Chain” (2022) were first prominently featured in her solo show “Poem Police” at kunsthaus baselland in the summer of 2022. “POLICE”, “POEM”, “NON”, “IMAGINE”, these are words Coste takes from public space and which in their “unfilteredness (…) (say) a lot about the current state of a nation” (Ines Goldbach, 2022). The negative shadows of loosely draped hanging chains, the “Chains,” which serve her as spray stencils on large-format raw canvases, present themselves just as directly. The choice of diverse materials expresses the spontaneity of the artist, does not allow correction, conveys itself as a gesture that does not like to hide anything. Coste likes to act with people who live on the margins of society, to trace emotional states and open the (pictorial) space for the traces of social constraints, historical burdens, psychological wounds, and give hope. The artist lives the unconditional willingness to say “no”, to break the chains of power, capital, postcolonialism, police violence. And “(t)he art business is the only place where this is possible” (A.-L.C).

Anne-Lise Coste (b. 1973 in Marseille, France) studied at the École des Beaux- Arts, Marseille (1995-97) and at the HGK in Zurich (1997-99). Because Coste did not show up for the exam and instead sent a picture of a monkey with the inscription “no home – no diploma,” she missed her graduation. This was followed by 7 years in New York in live-hard-work-hard mode. Today, the artist works and resides in Sète, southern France. Coste regularly presents in institutional solo shows such as Kunsthaus Baselland (2022), Dortmunder Kunstverein (2020), Museo de Bellas Artes de Santander (2012), Kunsthalle St. Gallen (2006), Kunsthaus Glarus (2005) and regularly in her galleries Ellen de Bruijne Projects, Amsterdam (since 2004), Galerie Hauff, Stuttgart (since 2005), NoguerasBlanchard, Barcelona (since 2006), Galerie Halsey-Mckay, New York (since 2013), Lullin Ferrari, Zurich (since 2015); Also in numerous group shows such as at Helmhaus, Zurich (2017), MACBA, Madrid (2013), Boijmans van Beuningen Museum, Rotterdam (2013), Athens Biennial (2007), CCA, Andratx (2007), Migros Museum, Zurich (2007), Tate Modern, London (2007), Schirn Kunsthalle, Frankfurt/M (2006), et al. a..
Costes works are in numerous collections such as the Migros Museum für Gegenwartskunst, Zurich, Museum Arnhem, MACBA Barcelona, Kunsthalle Lingen, Kunsthalle Glarus, Glarus, Staatsgalerie Stuttgart, among others.

While Anne-Lise Costes’ neon work “POLICE” (2022) is the only source of light that floods the exhibition space in glistening “crime scene” white, it also provides the background for Edit Oderbolz’ installation “Now rain, now sun” (2016) with its lettering. Coincidentally, both artists exhibited these works separately in their respective solo shows at Kunsthaus Baselland. What covers the entire floor of the exhibition space is a multi-part arrangement of real and fake melons, daily newspapers, and a centrally placed steel frame with a loose covering of a silvery gray tarp. The dailies sit unfolded like a tent on top of the green fruit balls, referencing a quote by architect Bernard Rudofsky in this random formulation of dwelling: “Suburban man falling asleep near his lawn mower, pulling a section of his Sunday paper over his head, thus reenacts the birth of architecture.” Despite or precisely with the language of an object-based minimalism, Edit Oderbolz evokes associations with everyday moments of roof, shelter, homeless people as well as oppositions of violence-peace, politics-privacy, sun-rain. Thus the material becomes a socio-cultural carrier of meaning on the one hand and a kind of anthropological abstraction on the other. In the entrance room of the gallery, EDIT ORBOLZ’s installation “Große Flotte” (Large Fleet) once again evokes a summer vacation mood, but also the memory of media images of refugees. A paravent-like lattice frame serves for the draping of pastel as well as stained terry cloth towels, while a net of mussels is laid at the foot. A still life of subjective extracts to which, in the manner of arrangement, a poetic connotation adheres in the abundance of being stranded, adventure, romance and freedom.

Edit Oderbolz (born 1966 in Stein am Rhein) studied at the HGK Basel (1996-99) and taught as a guest lecturer at various architecture and art colleges in Bern, Lucerne, Basel and Karlsruhe. For her artistic work she was awarded several times with work scholarships, residencies and prizes such as the Manor Art Prize (2004), the Landis & Gyr Scholarship London (2014) or with the Paul Boesch Prize (2019) among others. Her works have been shown in numerous solo exhibitions in various institutions and galleries in Switzerland and abroad such as Crac Alsace, Altkirch (2018), Kunstverein Nürnberg Albrecht Dürer Gesellschaft (2017), Kunsthaus Baselland (2016), Lullin+Ferrari (2016, 2011), Kunsthalle Basel (2009), Kunsthaus Langenthal (2008), Kunstverein Friedrichshafen (2013), Centrum Sztuki Wspolczesnej Torun (2009), Museum für Gegenwartskunst, Basel (2004); also regularly in group shows such as at the Aargauer Kunsthaus, Aarau (2022), Kunstmuseum Olten (2018), Kunsthalle Bern (2018), Kunsthalle Palazzo, Liestal (2018), Kulturstiftung Agathenburg (2010), et al. a..
Edit Oderbolz’s works are in the collections such as the Swiss Federal Art Collection, Credit Suisse AG Zurich-Enge, Kunsthaus Aarau and others.

Opening: Friday, 16. September 2022, 6:00 – 9:00 pm

Exhibition dates: Saturday, 17. September to Saturday, 15. October 2022

To the Gallery

 

 

Exhibition Streuli + Coste + Oderbolz – FeldbuschWiesnerRudolph | Zeitgenössische Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galleries | ART at Berlin

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