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carlier | gebauer: JANAINA TSCHÄPE - Dream Particles | MARKO LEHANKA - 9 June 2011 to 30 July 2011

Current Exhibition


9 June 2011 to 30 July 2011
Tuesday to Saturday,11 am - 6 pm
carlier | gebauer
Markgrafenstraße 67
D-10969
Berlin
Germany
Europe
T: +49 (0)30 2400 863 0
F: +49 (0)30 2400 863 33
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W: www.carliergebauer.com











JANAINA TSCHÄPE | Dream Particles
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carlier | gebauer

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Artists in this exhibition: JANAINA TSCHÄPE, MARKO LEHANKA


Janaina Tschäpe | Dream Particles
June 10th – July 30th, 2011 Opening: June 9th, 6 - 9 pm

carlier | gebauer is delighted to announce the third solo exhibition of New York-based artist Janaina Tschäpe with the gallery. Tschäpe approaches her ever-changing microcosm in ongoing series of re-readings and articulations, in multi-facetted attempts of performative approaches to the body, as an organ, a site of illegibility and mystery, of disintegration as well as of creation. Tschäpe’s early performances, her videos, photographies, sculptures, paintings and drawings are deciphering a sense of nature below the surfaces which disunite human life from that of its surroundings. Far from implying a simply idealisation of nature as man’s other, Tschäpe locates one within the other and relayers a worldview, which rises from the creations she mimics as much as from the formal strength of the artistic results of this mimesis. In Tschäpe’s art one finds an urge of expression, which employs whatever medium necessary to articulate a sense of vicinity that is translated into a world of its own, an expanding artistic body of work.

Tschäpe’s new series of watercolours, which are now on view for the first time in Europe, condense different formats within themselves. The large scale, multi-coloured, densely filled and layered drawings are presenting their viewers with the transcriptions of a formal concentration as much as with those of a past action. Tschäpe’s watercolours embody, even though their forms remain shifting and ambiguous, a sharp sense of figuration in which the question of identification and recognition are transposed by that of an indiscernible affinity. Facing those large sheets of paper, one is drawn into a dimension of full colours, of round shaped, lingering and floating forms, the outlines of which never eface the artist’s past actions but expose them as being one characteristic of the colours, of the forms, and of the world which arises with them. Tschäpe’s drawings outsize their perceivers, seeing them means facing an interiority beyond the measures of oneself. Germano Celant remarked, that Tschäpe creates a world after the age of the cyborg, her mimetic transfigurations do not fall back into the illusion of a given, but move forward into the spectres of an expanded sense of corporeality in which the classic figure of the nude seems to be inverted, turned inside out.
It is sex Tschäpe is dealing with. The genderings of life beyond its subsumption under binary identifications, which starts from her actions as an artist and evolves into sexualised fields of colour and form which do never expose but rather acts out a strong sense of comportment. Linda Nochlin, the great feminist art historian of Modernism, attested that the body in fragments, its mutilation and dismemberment was Modernism’s central trope. In Tschäpe’s work this fragmentation is not taken back, but superceded. Her works emanate from the mutilations of Modernism and find its bonds, its intrinsic intercommunity. Tschäpe’s watercolours bring their viewers into performance and imply them into a shared body, one which opens up a new performative formality, but remains in constant flux.

Janaina Tschäpe is participating in the group exhibition "Once Upon a Time" opening in July at the Deutsche Guggenheim in Berlin. In 2012, the MOCA, Museum of Contemporary Art in Tuscon, Arizona will be hosting a solo exhibition of her works.



Marko Lehanka | ...endlich wieder daheim!
June 10th – July 30th, 2011 Opening: June 9th, 6 - 9 pm

„...endlich wieder daheim!“ is Marko Lehanka’s third solo exhibition at carlier | gebauer. The Frankfurt-based sculptor will present a series of new works in the project room of the gallery, works, which populate the room with bricollaged bodies, a series of farce, becoming form.

Lehanka’s works are distinctly shaped from the materials they assemble, scraps of wood, cans, empties, nothing too extravagant, but all within the realm of the home. This is where Lehanka’s sculptural installations live. The build a home, a re-initiation of the living spaces, a world in which the globalisation of production returns only in the fabrication tags of the plastic objects, a front garden, which turned upon itself. In installations like „Schöner Scheitern“ (2000) (failing more beautifully) his sense of humour becomes form in ways, which do not simply mock traditional concepts of sculpture but rather take them seriously, proposing that anything can be made into art, if only it finds and artist to form it. Traditional sculptural techniques, such as casting and moulding, return with a vengance here, in objects which have run through the same routines, but in industrial productions, which Lehanka combines with painted wood, concrete molds and handwritten text parts. The production is painly obvious in these bodies, the artists mimics a home-made craftsmanship and shows its possible expansions without mocking it.

Lehanka is, to to say, sculpturing from nature, but it is second nature, that which Georg Lukacs characterised as the naturalised world according to capitalist production. There is no moralist tone in what Lehanka presents, rather, one could say that he is suggesting to hold on to the present, in used objects, souvenirs, interior design items, and art historical references, an affirmation arises, which presents a loving egalitarianism in relation to its materials. Lehanka reassembles canonised works, like Albrecht Dürer’s Bauernsäule of 1525 in the materials which might represent their equivalents today and in such proceedings second nature is restaged into the realm of high culture. The state of the present is turned back onto its prehistory and reconquers it for an actualised use value of form. Lehanka’s works mix what is washed up in the present, old-fashioned teapots as well as outmoded electrical items, building a barricade in some ways that holds on, despite all. One of his sculptures holds up a childlike handwritten sign saying: „Falls ihr mir ANGST machen wollt, dann ist euch das gelungen!“ (If you want to SCARE me, you managed!). One is reminded of Karl Marx reprise of GWF Hegel, in which he writes: “Hegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce.” Lehanka holds on to the farce and finds the sense, which still subsists in it – build anew.

Some of Lehanka's most important exhibitions were staged at the Sprengel Museum, Hannover, the Schirn Kunsthalle, Frankfurt, the sculpture projekte münster, or, his most current exhibition, at the Oberfinanzdirektion in Frankfurt a.M.






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