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carlier | gebauer: Asta Gröting - TOUCH and Ghost - 9 Jan 2016 to 6 Feb 2016

Current Exhibition


9 Jan 2016 to 6 Feb 2016
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
M:
W: www.carliergebauer.com











Asta Gröting
Stills from TOUCH, 2015,
single channel 4K video projection, 16 min
12


Artists in this exhibition: Asta Gröting


Asta Gröting | TOUCH and Ghost

9 January - 6 February 2016
Opening: Friday, 8 January 2016, 6 - 9 pm

carlier | gebauer is pleased to announce a solo exhibition with gallery artist Asta Gröting, opening Friday, 8 January from 6 - 9 pm. TOUCH and Ghost is Asta Gröting’s fourth solo exhibition with the gallery.

In Gröting’s manifold artistic practices, which she has developed since the mid-1980s, Gröting translates sculptural thought in diverse media. Her works address the social body on both an emotional and a conceptual level, transfer­ring psychological as well as social relations into concise statements about per-sonal, collective, and political entanglements.

The video installation TOUCH comprises the core of the exhibition. To create the work, Gröting invited a number of people that have touched her life in some way — whether colleagues, friends, family members, or public fig­ures — to sit one after the other for a portrait. Shot on a darkened sound-stage, a bright spotlight illuminates each figure. They lock eyes with the art­ist while she traces the contours of their face with her hands. Through the acts of pressing, measuring, and palpating Gröting enacts a form of portraiture that both recalls traditional gestures of sculpting and forms of healing mas­sage. Her fingers traverse the outlines of each person’s face with a distinctly different tempo and range of movement, articulating each individual body as a landscape of difference entwined in radical proximity with the artist.

The eponymous video Buddy Big Mountain tells the story of a gifted Native Amer­ican ventriloquist who appears both in TOUCH and “The Inner Voice” (1993-2004), a series of videos depicting dialogues between ventriloquists and a puppet built by the artist. For Gröting, Big Mountain expressed the “inner voice” of the United States. The touching video portrait delves more deeply and directly into the country’s conflictual relationship with Native Americans. As Big Moun­tain shares his familial history and his creative and professional development as a ventriloquist, his testimony also reveals a nexus of intra-tribal tension and discrimination.

Gröting’s sculpture Ghost (2015) is a continuation of the series “Space Between a Family”. Begun in 2010, this series comprises life-size casts of the artist‘s immediate family members over the course of several years. The ensemble of figures morph and change with the passing time, some growing larger while oth­ers disappear altogether. Deborah Levy, the British novelist, playwright, and poet who also appears in TOUCH, notes that while this series of sculptures 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.” In conceptually and emotionally asking questions of the social body by taking something away from it, Gröting “allows this absence to do the talking.”

Asta Gröting (born 1961) lives and works in Berlin. Current and upcoming exhi­bitions include The Withdrawal of the Red Army, Northern Norway Art Museum, Tromsø, Norway; This is a voice, Wellcome Collection, London, UK; and Flying Over The Abyss, Neon, Contemporary Art Center of Thessaloniki, Greece. Selected recent 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; The Voice, Škuc Gallery, Ljubljana, Slovenia; ALL the WorLd’s a Stage, Works from the Goetz CoLLection, Fundación Banco Santander, Madrid, Spain; The International Biennial of Contem­porary Art of Cartagena, Cartagena de Indias, Bogotá, 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.

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Néstor Sanmiguel Diest

9 January - 6 February 2016
Opening: Friday, 8 January 2016, 6 - 9 pm

carlier | gebauer is pleased to present the solo exhibition with the Spanish artist Néstor Sanmiguel Diest. An Introduction is the artist’s first exhibition with carlier | gebauer.

Néstor Sanmiguel Diest is a founding member of the A Ua Crat collective and a leading figure of the 1980s avant-garde in Aragon. This intimate selection of paintings precedes a larger exhibition with the gallery in February 2016.

Formally trained in couture and pattern-making, Sanmiguel Diest originally hails from an applied arts background. Traces of his former profession appear at times as a subtle motif in some of his works, such as the drawing El Vestido de Mayte (22/10/99) but his work as a pattern maker — combined with his vora­cious interest in literature and philosophy — has exerted a broader influence on the artist’s schematic thinking and the quasi-mathematical structures that inform his creative process.

Sanmiguel Diest has developed a lexicon of lines and patterns that he uses to formally delimit fragmented spaces. Superimposed layers of information act as screens, simultaneously revealing or hiding a succession of pictorial stories or texts. For example, the painting Reflejo de Lucrecia en el Canal relates to his ongoing engagement with the historical legend of the suicide of Lucrecia — an enduring subject for visual artists like Titian, Rembrandt, and Botticelli, among many others. Sanmiguel Diest also employs literature — and text more broadly — as a plastic instrument. The titles of his works are often embedded within the works themselves and are revealed over the course of their making with different solvents. The artist constructs his paintings and works on paper as palimpsests, alternately layering strata of found materials like magazine clippings, newspapers, industrial reports, mail, formulas, and texts atop one another in interplay with layers of ink, paint, graphite, solvents, and ballpen. As Sanmiguel Diest never knows precisely which words or images this process will uncover, he refers to the method as a form of automatic writing.

Néstor Sanmiguel Diest (born 1949) lives and works in Aranda de Duero. At first his art practice revolved around actions, documents, paintings, texts and mani­festos linked to collectives such as A Ua Crat and Red District. In the 1990s he began to focus exclusively on the medium of painting. He has exhibited his work at MUSAC (2007), and has also taken part in the recent exhibition Locus Solus: Impressiones de Raymond Roussel at the Museo Reina Sofía (MNCARS). 


carlier | gebauer
Markgrafenstraße 67
10969 Berlin
Germany
www.carliergebauer.com


carlier | gebauer






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