carlier | gebauer: MARIA TANIGUCHI | ASTA GRÖTING | RICHARD MOSSE - 1 May 2015 to 6 June 2015
Maria Taniguchi, 2015
exhibition view at carlier | gebauer
carlier | gebauer is very pleased to present Filipino artist Maria Taniguchi's first solo exhibition with the gallery, opening 1 May, 2015 from 6-9pm. Featured works include the latest black and grey brickwork paintings from the larger project Untitled (2008 Ð ongoing) comprising nearly thirty pieces to date of similar technique and format. Other works include a sculptural stack of paper posters depicting the dark entryway to an ancient cave dwelling, and a number of geometric shapes that resonate with the structural elements and building blocks of Taniguchi’s signature paintings.
These dark, imposing and methodical paintings of interlaced brickwork shall tightly line the gallery walls as one continuous work in a graph diagram. Beginning with a monochrome grey background, Taniguchi maps out a network of small graphite lines mimicking the designs used in bricklaying. Then, using varying densities of black acrylic paint, each ‘brick’ is meticulously filled in Ð allowing for slight aberrations to be revealed in the formal patterning as light reflects across the smooth surface. Her work deals with the progression of time in relation to the accumulation of form and experience in artistic production. The repetition and modulation of individual markings read like a coded speech locked in persistent conversation. It is a conversation seemingly closed in, but in fact is open to present interruptions and future engagements.
Taniguchi’s large format, wall-like paintings also take on dimensions that are decidedly sculptural and architectural as they are stretched on aluminum frames and set on the floor to gently lean against the gallery walls. The aesthetic of an exterior surface is brought into the interior as a phantom shadow of a built environment.
Following a lineage of artists dealing with time based patterning such as On Kawara who focused on the singularity of unique historical moments in time or Channa Horwitz who categorically charted movement over time, Maria Taniguchi maps the process of self-awareness through an understanding of the continuity of time.
Maria Taniguchi (b.1981) lives and works in Manila, Philippines. Selected recent projects include HIWAR: Conversations in Amman, Amman, Jordan (2013); Without a Murmur, Museum of Contemporary Art and Design, Manila (2012); The Philippine Contemporary: To Scale the Past and the Possible, Metropolitan Museum of Manila; and Don’t You Know Who I Am? Art After Identity Politics, Museum of Contemporary Art (MHKA), Antwerp, Belgium. Upcoming exhibitions include Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art (GOMA) and Queensland Art Gallery (QAG), Brisbane, Queensland, Australia; Sights and Sounds: Global Film and Video, Jewish Museum, New York, USA. She will also be in residency at Things That Can Happen, Hong Kong in 2015.
carlier | gebauer is very pleased to present new sculptures by Asta Gršting on the occasion of Gallery Weekend Berlin opening 1 May, 2015 from 6-9pm.
The new work, When My Mother Was Dying (2015), is a continuation of the series Space Between a Family which are casts of the artist‘s family made in 2010, and Space Between Lovers which is a cast of a couple having sex. Seen from the front, the four figures in When My Mother Was Dying appear to be swathed in gently undulating shrouds. Walking around the sculptures, however, reveals direct imprints of each individual’s solemn expression and the rumpled folds and buttons of their clothing Ð thus enacting a dynamic interplay between the visible and invisible aspects of the primal experience of mourning.
„Freud told us that civic monuments and memorials are made to preserve the memory of a traumatic event (war, the loss of human life) and invite us to remember the painful experiences of the past. Gröting continues this conversation by sculpting monuments that preserve the memory of the present, or which ask questions of the present, while inviting us to speculate on a timeless absence- something or someone lost, missing, gone.
If it is a celebration and conservation of life, it is also an unsentimental gaze at family relations - the empty but haunted space of all that is unspoken between them. Gröting subverts the visual language we associate with most public monuments, always alert to the difficult task of casting abstract qualities such as thought, dignity, conflict, subjectivity. It is not hard to imagine that these introspective figures possess internal organs, (lungs, hearts, kidneys) but they are uncanny too, mournful grey ghosts of substance who seem to be emerging from both a war and a womb.
Gröting is conceptually and emotionally asking questions of the social body by taking something away from it and allowing this absence to do the talking.“
- Deborah Levy
Asta Gršting (b. 1961) lives and works in Berlin. Current and upcoming exhibitions include Terrapolis, Whitechapel Gallery and NEON Foundation, Athens, Greece; Blicke ! Körper ! Sensationen !, Deutsches Hygiene Museum, Dresden, Germany; His Master‘s Voice: Von Stimme und Sprache, Centre De Culture Contemporaine, Montpellier, France; Höhenrausch, OK Center for Contemporary Art, Linz, Austria; This is a voice, Wellcome Collection, London, UK; The Withdrawal of the Red Army, Northern Norway Art Museum, Tromsø, Norway; The Voice, Škuc Gallery, Ljubljana, Slovenia; All the World’s a Stage, Works from the Goetz Collection, Fundación Banco Santander, Madrid, Spain. Selected recent exhibitions include The International Biennial of Contemporary Art of Cartagena, Cartagena de Indias, Bogot‡, Columbia; Reines Wasser - Die kostbarste Ressource der Welt, Lentos Kunstmuseum Linz, Austria; Parallel Performances, Asta Gröting, Maria Eichhorn, Arter, Istanbul, Turkey; Asta Gröting (solo), NBK, Berlin, Germany and Lentos Kunstmuseum, Linz, Austria; Asta Gröting Sculpture: 1987- 2008, Henry Moore Institute, Leeds, UK; The Inner Voice, MARTa Herford, Herford, Germany.
carlier | gebauer is very pleased to exhibit large format landscape photographic works by Irish artist Richard Mosse on the occasion of Gallery Weekend Berlin opening 1 May, 2015 from 6-9pm.
Richard Mosse has developed a body of photographic and filmic work that is both unabashedly aesthetic and fraught with political and ethical implications. He offers a radical rethinking of how to depict a conflict as complex and intractable as the ongoing war in eastern Democratic Republic of Congo. Treading a thin line between the conceptual and the affective, Mosse transforms the image into a site of crisis and of resistance.
Mosse depicts eastern Congo’s rich topography, inscribed with the traces of conflicting interests, to show the ways in which this region’s conflict has affected the landscape, and is expressed in land use, its agriculture, forests, and national parks.
These photographs were captured using discontinued color infrared film originally designed for military camouflage detection, reconnaissance, and targeting. Throughout the 20th Century, the medium also found civilian applications in the land sciences, including hydrology, farming, and mineralogy. It was used to reveal environmental factors otherwise imperceptible to the human eye, such as determining the health of crops.
Mosse employs the film in a strategy of mapping areas of North and South Kivu affected by inter-related aspects of the conflict including sites of human rights violations, the displacement of populations, land conflict between pastoral and agrarian tribes (a conflict as old as Cain and Abel), stripping and alleged poisoning of forestry, the illegal charcoal industry, and exploitation of conflict minerals.
Almost every industry in the region – from artisanal mineral exploitation to the culling of primeval forest for charcoal production – is controlled by armed groups. The illegal charcoal trade is estimated to earn DRC’s militias between $14-50 million USD per year in road taxes. Eighty percent of Congo’s precious minerals are illegally smuggled out of the country, robbing this impoverished nation of its patrimony. There are four rainy
seasons per year in eastern DRC, and the soil is fabulously fertile, yet large numbers of people starve. Emergency relief is hampered by broken infrastructure and instability. Huge numbers of people in North and South Kivu flee violence, living and dying in temporary camps for internally displaced persons.
The resulting images carry an uneasy Romantic resonance, ambiguously balancing the sublime with a documentary subtext of environmental damage predicated by at least thirty different armed groups fighting over natural resources – food, farmland, forestry and rare earth minerals – in a place of near anarchy and humanitarian disaster.
Richard Mosse (b.1980) lives and works in New York City. He is the winner of the Deutsche Boerse Photography Prize 2014 and recipient of the Yale Poynter Fellowship in Journalism 2014, the B3 Award at the Frankfurt Biennial 2014, a Künstlerhaus Bethanien residency 2012, and the Guggenheim Fellowship 2011. Selected current and recent exhibitions include The Enclave, Portland Art Museum, Oregon, USA; Richard Mosse, Louisiana Museum of Modern Art, Humlebæk, Denmark; Post Conflict, Nichido Contemporary Art, Tokyo, Japan; Land in Sicht, Weserburg Museum für moderne Kunst, Bremen, Germany; The Enclave, National Pavillion of Ireland, 55th Venice Art Biennale. Upcoming exhibitions include The Enclave, National Gallery of Victoria, Melbourne, Australia; The Enclave, Rennaissance 2015, Lille, France; The Nasher Museum, Raleigh NC, USA.
Opening: 01.05.2015 6 - 11 pm
carlier | gebauer