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carlier | gebauer: NÉSTOR SANMIGUEL DIEST | JESSICA RANKIN - 13 Feb 2016 to 19 Mar 2016

Current Exhibition

13 Feb 2016 to 19 Mar 2016
Tuesday to Saturday,11 am - 6 pm
carlier | gebauer
Markgrafenstraße 67
T: +49 (0)30 2400 863 0
F: +49 (0)30 2400 863 33

Néstor Sanmiguel Diest, Flores Fuera Del Ramo (02/03/05), 2005

Artists in this exhibition: Néstor Sanmiguel Diest, Jessica Rankin

Néstor Sanmiguel Diest: Revisitando Enigmas

13.02. - 19.03.2016
Opening: Friday, 12th February 2016, 6-9pm

carlier | gebauer is pleased to announce its first solo exhibition with Spanish artist Néstor Sanmiguel Diest, a founding member of the A Ua Crag collective and a leading figure of the 1980s avant-garde in Aragon.

Sanmiguel Diest began to pursue his artistic practice while initially maintain­ing a career as a pattern maker. Although the artist has long left his work in the field of applied arts behind,this experience — combined with his voracious interest in literature and philosophy — has exerted a broader influence on San­miguel Diest‘s schematic thinking and the quasi-mathematical structures that inform his creative process.

Sanmiguel Diest 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. The artist has developed a lexicon of lines and patterns that he uses to formally delimit fragmented spaces, a practice that carries throughout his oeuvre. He wields su­perimposed layers of information as screens, simultaneously revealing or hiding a succession of pictorial stories or texts. The series El Suicido de Lucrecia (the Suicide of Lucrecia) - which refers to a historical legend that has been an enduring subject for visual artists, including Titian, Rembrandt, and Botti­celli - teems with meticulous systems of lines that vertically bisect the pic­ture plane.

Sanmiguel Diest‘s at times hermetic and highly personal conception of art has resulted in a nuanced vocabulary of methodologies and symbols. Like German art­ist Hanne Darboven, who employed personally derived numerical systems in the creation of her artworks, Sanmiguel Diest‘s paintings and drawings have an al­gorithmic quality. However, if we consider an algorithm to be a finite process with a fixed symbolic vocabulary governed by precise instructions, then San­miguel Diest‘s alogorithm‘s are unstable, constantly stuttering and re-aligning themselves as the repetition of one process unlocks new, unpredictible effects. Sanmiguel Diest employs literature — and text more broadly — as a plastic in­strument. The writings of references as diverse as the sci-fi master Stanislav Lem, the Dada poet Tristan Tzara, or French symbolist poet Stéphane Mallarmé have all provided inspirations for his work. Sanmiguel Diest refers to these sources, and the formal process of layering different materials atop one anoth­er, as working with overlapping layers of ”contaminated information“ — simulta­neous events entangled in one another, ”soaked by rain.“

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 Crag and Red District. In the 1990s he began to focus exclusively on the medium of painting. Sanmiguel Diest‘s work has been collected by MACBA, Museo Reina Sofía, and MUSAC, among others. 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). 

Jessica Rankin: Field of Mars

13.02. - 19.03.2016
Opening: Friday, 12th February 2016, 6-9pm

carlier | gebauer is pleased to present a solo exhibition with the Australian artist Jessica Rankin. Field of Mars will be the artist‘s third exhibition with the gallery.

Jessica Rankin is best known for her expansive celestial maps and landscapes, which are interspersed with codes, signs, and symbols that refer to the pro­cesses of memory, intuition, and interpretation. Rankin often begins her cre­ative process with the written word, combining stream of consciousness, found texts, stories, memories and fleeting thoughts. She then cuts apart individual words and phrases and recomposes them into new sequences using a method of ”guided chance.“ These clusters of texts are then integrated into Rankin‘s drawings and embroideries.

In her current exhibition with carlier | gebauer, Rankin continues to employ constellation maps as a frame of reference. The works on view all refer to a single night sky - a date of personal significance for the artist. By focus­ing on a discreet, private moment, Rankin places the personal within a broader macro-relationship to time and space. Rankin‘s large-scale embroidery Field of
Mars depicts a delicate celestial lattice plotting the points between the stars on the date that she found and visited her mother‘s grave. Although the term Field of Mars extends back to antiquity, Rankin‘s use of the name refers to the cemetery where her mother was buried. Typically ascribed to the women‘s realm, the medium of embroidery proposes an immersive slowness of process that re-inscribes an association that once belonged to military antiquity into a highly subjective poetic reference.

Similarly, landscapes become personal and not simply geographical in Rankin‘s works. Her collage Could I Just Have The Sober Hand depicts the rolling hills, meadows, and rugged coastline of England. Using photographs culled from the book A Writer‘s Britain, Rankin‘s collage seems to emphasize the seams between each image, highlighting a discontinuity in the depicted landscape that formal­ly evokes lapses in memory and the gap between things as they are experienced and as they are remembered.

Jessica Rankin (b.1971, Sydney) lives and works in New York. In spring 2016 Museum Dhondt-Dhaenens will present the two person exhibition Julie Mehretu/ Jessica Rankin. Selected solo exhibitions include Salon 9L1, New York (201L1); SCAD, Atlanta (2013); PS1 Contemporary Arts Center, New York (2006); and Frank­lin Artworks, Minneapolis (2005). Rankin has participated in numerous group exhibitions in the US, Europe and Australia. 

carlier | gebauer
Markgrafenstraße 67
10969 Berlin

carlier | gebauer

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