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carlier | gebauer: Bojan Sarcevic : The breath-taker is the breath-giver - 4 Mar 2009 to 25 Apr 2009

Current Exhibition


4 Mar 2009 to 25 Apr 2009
Tuesday to Saturday, 11 a.m. - 6 p.m.
carlier | gebauer
Markgrafenstraße 67
D-10969
Berlin
Germany
Europe
p: +49 (0)30 2400 863 0
m:
f: +49 (0)30 2400 863 33
w: www.carliergebauer.com











Bojan Sarcevic, The breath-taker is the breath-giver (Film A), 2009
Film Installation, Super 16mm, 2:33 min
in acrylic glass pavillion, Production Still
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carlier | gebauer
Bojan Sarcevic

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Artists in this exhibition: Bojan Sarcevic


Bojan Sarcevic "The breath-taker is the breath-giver"
4th March – 25th April 2009
Opening: Tuesday, 3rd March, from 6-9 pm


carlier | gebauer is happy to present Bojan Sarcevic’s new solo exhibition "The breath taker is the breath-giver", opening 3rd of March 2009.

Sarcevic’s new series consists of four works, three of which are now on display for the first time at carlier | gebauer. The super-16mm film loops are each about three minutes long and are focussing each on a setting of objects embedded in music, which was conceived for them by Turkish contemporary composer Ulas Ozdemir. Sarcevic’s films are shown on modified 16mm projectors, set up in acrylic glas pavilions, which are projecting the image from the pavilion onto the surrounding walls of the space. His super-16mm films are differing from the usual 16mm format in that they imitate the 1,85:1 format of cinematic movies.

Sarcevic’s ‚Skulpturen Film’, to quote their working title, are comprised of film, music, sculpture and architecture, alluding to the modernist total works of art of the Bauhaus and of architectural functionalism as much as to their consequitive historical desintegration. Sarcevic’s pavilions are not structured by glittering clarity alone but every now and than the shadows are taking over the sceneries which the camera is slowly scanning. The sets of the films seem to mimmic the material studies of a cultural history in miniature, which is carefully released from its functionalist allusions. Ozdemir’s compositions are introducing their own context into this setting. Ozdemir’s ethnographical approach to music history as well as his use of traditional instruments produce yet another layer, in which the memory of modernism, which seems to be omnipresent in Sarcevic’s works, is recreated. Here, the forms are emancipating themselves from their functions and are ascribed to the capacities of gestaltung within their materialities.

In his exhibition, "The breath-taker is the breath-giver" Bojan Sarcevic is continuing his translations of sculptural scenes into filmic rides which were last shown in his solo exhibition “Only After Dark” which at the Kunstverein in Hamburg in 2008. In this show he had also worked with Ozdemir. But whereas in “Only After Dark” the films were more driven by Sarcevic’s own previous sculptural practice and opened up their formations into new sceneries, his new films are presenting material in three object groups. Thin, coloured paper is spun onto a thicker brown cardboard, looking like a set of stones cut open, an impression irritated by a red-blonde hairpiece, which seems to grow out of it. A fragile geometric wood construction, stretched by thin threads, is positioned in light sand like an attic column and a seemingly organic group of clayforms, covered in black cotton, in which some few pearls seem to be positioned somehow resemble dead bodies. Sarcevic’s film sculptures never allow for a comforting place between the organic and the formal. Their material mixtures construct contexts which remind their viewers of later modernism, but yet carry with them no possibility of a definite localization in time or place. As in George Kubler’s break with modernism, „The Shape of Time: Remarks on the History of Things“ (1962) also Sarcevic’s works seem to construct a cultural history within the objects themselves, in the expressions of their materials.

Sarcevic is advancing the transformation of his sculptures into the ephemeral material of film. He counteracts the intuitively expected experiences of his media. His architectural elements are permeable, the space which they construct is open, whereas the spaces of his films are much more enclosed and physical. The non-space of the projected film and the acrylic glas pavilions is confronting the architecture of the exhibition space. Sarcevic is interwining the filmic- and the architectural space as well as two different conditions of material: the transparent acrylic glas of the pavilions corresponds to the translucent celluloid of the film, whereas the filmed material forms a dialogue with the pavilions architecture. The music, an immaterial medium in and of itself, unifies those different perspectives as an outside, a commentary like media within the film-sculptures. Sarcevic is relating sculpture, architecture and music back to its materials, which in "The breath taker is the breath-giver" are the source of the space created around them.

Bojan Sarcevic was born 1972 in Belgrade. He studied at the Rijksakamdie in Amsterdam and at the Ecole Nationale des Beaux Arts in Paris. His works and installations were shown among others on the Manifesta 2 in Luxembourg, at the 50th Venice Biennale, at the Witte de With in Rotterdam, at the Artist Space in New York and at the Stedelijk Museum Bureau in Amsterdam. Currently, his work is on view at the Le Crédac, Ivry-sur-Seine in France. For this year's summer, Sarcevic’s works will be on view at the Tate St Ives, UK.



Bojan Sarcevic
born 1974 in Belgrade
lives in Berlin and Paris
www.bojansarcevic.net

Education
1999-2001 Scholarship at Rijksakademie, Amsterdam
1993-1997 Ecole Nationale des Beaux Arts (Prof. Annette Messager), France


Selected Solo Exhibitions
* catalogue
2009
“The breath-taker is the breath-giver”, carlier | gebauer,
Berlin, Germany*
Tate St. Ives, England

2008
“Only After Dark”, Kunstverein Hamburg, Germany

2007
“Already Vanishing”, MAMBO, Bologna, Italy *
“Only After Dark”, Le Crédac, Ivry, France
“Untitled”, BQ, Cologne, Germany
“Kissing the back of your hand makes a sound like a wounded
bird.” BAWAG Foundation, Vienna *

2006
“Sometimes a Man Gets Carried Away”, Kunstverein Heilbronn,
Heilbronn, Germany
"To what extent should an artist understand the implications
of his or her findings?" (touring), Project Arts Centre,
Dublin;
The Model Arts - Niland Gallery, Sligo, Ireland *
“Replace the Irreplaceable”, carlier | gebauer, Berlin
“Everything makes sense in the reverse”, Pinksummer, Genova,
Italy
“Wanting without needing, Loving without leaning”, ArtPace
Foundation, San Antonio, Texas, USA
“Keep the illusion for the end”, BQ Cologne, Germany *

2004
“1954”, carlier | gebauer, Berlin

2003
“Verticality Downwards”, Kunstverein München, Munich *
“Where the hand doesn’t enter, heat infuses”, IAC Institut
d’Art Contemporain, Lyon/Villeurbane, France

2002
“Rien ne peut venir que d´ailleurs”, Centre d’Art
Contemporain Brétigny, Brétigny-sur-Orge, France *
“Spirit of Versatility & Inclusiveness”, BQ, Cologne
Pinksummer, Genova, Italy
INOVA Institute of Visual Arts, Milwaukee, USA
TBA inc, Chicago

2001
“Eingang Links”, Kunstverein Düsseldorf, Germany
“Cover Versions”, Stedelijk Museum Bureau Amsterdam *
Galerie Gebauer, Berlin

2000
“Strange, I’ve seen that face before”, Modern Institute,
Glasgow, UK
“Favourite worker’s clothes worn while s/he worked”,
Gesellschaft für Aktuelle Kunst, Bremen, Germany *

1999
“It seems that an animal is in the world as water
in the water” BQ, Cologne, Germany *
Kunsthalle Lophem, Brugge, Belgium
“Irrigation - Fertilisation”, Salon 3, London


Selected Group Exhibitions

* catalogue
2009
Le travail de rivière, Le Crédac, Ivry-sur-Seine, France
Ane Hjort Guttu, Nairy Baghramian, Bojan Sarcevic,
Kunsthall Bergen, Norway*

2008
No Comment, Barbara Gladstone, Brussels, Belgium
Der große Wurf - Faltungen in der Gegenwartskunst, Kaiser
Wilhelm Museum, Krefeld, Germany
Wenn ein Reisender in einer Winternacht - Variationen über
Max Bill, MARTa Herford, Herford, Germany
“Vertrautes Terrain. Aktuelle Kunst in/über Deutschland",
ZKM, Karlsruhe, Germany*

2007
“The Garden of Cyrus”, Galerie Edouard Manet,
Gennevilliers, France
“House Trip”, Artforum Berlin 2007
“BERLIN – AMSTERDAM. Folded or Tilted Realities“,
Rijksakademie Amsterdam
“Free Electrons. Selected Videos from the Lemaître
Collection”, Tabacalera Donostia, San Sebastian, Spain
“Entre Fronteras” MARCO Vigo, Spain

2006
“Dorothea von Stetten Kunstpreis”, Kunstmuseum Bonn,
Germany
“Strange I´ve seen that Face before - Objekt, Gestalt,
Phantom”, Museum Abteiberg, Mönchengladbach, Germany

2005
“Menschensgladbach”, Städtisches Museum Abteiberg,
Mönchengladbach, Germany
“Universal Experience: Art, Life, and the Tourist´s Eye”,
Museum of Contemporary Art, Chicago *
“Model Modernism”, Artists Space, New York
“Material Time/Work Time/Life Time”, Reykjavik Arts
Festival, Reykjavik *
“It takes some time to open an oyster”, Centre Cultural
Andratx, Mallorca

2004
“Time Zones”, Tate Modern, London *
“Made in Berlin”, Art Forum Berlin
“Adaptative Behaviour”, New Museum, New York
“Formalismus, Moderne Kunst, heute”, Kunstverein Hamburg,
Germany*
“Real World. The dissolving space of experience”, Modern
Art Oxford, Oxford, UK *
“Tracers”, Witte de With, Rotterdam, Netherlands *
“The Auschwitz Trial: 40 years later”, Bürgerhaus Gallus,
Frankfurt/Main, Germany *

2004
3. berlin biennale für zeitgenössische kunst, Berlin
“Animals”, Haunch of Venison, London, *
“Here & Now”, Matrichit street site, Bangkok, Thailand
“Photography, Video, Mix media 2”, Daimler Chrysler
Contemporary, Berlin *

2003
“Déplacements”, Musée d’Art Moderne de la Ville de Paris *
“Clandestini”, 50th Venice Biennale, Italy *

2002
“My head is on fire but my heart is full of love”,
Charlottenborg, Copenhagen *

2001
“Traversée”, Musée d’Art Moderne de la Ville de Paris *
“ARS 01”, Kiasma, Museum of Contemporary Art, Helsinki *
“Szenarien oder der Hang zum Theater”, Bonner Kunstverein,
Bonn, Germany *
“Tracking”, CCAC Institute, San Francisco, USA
“La tribu dell’Arte”, Galleria Communalle d’Arte Moderna e
Contemporana, Rome *
“Le détour par la simplicité”, Confort Moderne, Poitiers,
France

2000
“Bleibe”, Akademie der Künste, Berlin, Germany *
“Big”, Turin Biennale, Italy
“Model, Model”, Neuer Aachener Kunstverein, Aachen, Germany
“Watou Projects”, Watou, Belgium *
Centre Soleil d´Afrique, Bamako, Mali

1999
“Soft Resistance”, Galerie Gebauer, Berlin, Germany
“Passage”, Setagoya Art Museum, Tokyo, Japan *

1998
“Manifesta 2”, Luxembourg, Luxembourg *
“Guarene Arte 98”, Fondazione Sandretto Re Rebaudengo,
Turin, Italy *


Selected Videography/Filmography

“The breath-taker is the breath-giver”, 2009, Series of four Super 16 mm
films (A-D) with digital sound, each ca. 3min.
“Only After Dark”, 2007, Series of five 16mm films (untitled 1-5), each
ca. 2:30 min.
“Untitled (Bangkok)”, 2002, digital video transferred to DVD, 8 min
“Miniatures”, 2002, digital video transferred to DVD, 11 min
“Cover Versions”, 2000/2001, 3-screen video installation, digital video
transferred to DVD, home cinema audio system, b/w, 28:50 min
“Untitled (Bamako)”, 2000/2001, digital video transferred to 16mm Film,
4 min
“It seems that an animal is in the world as water in the water”, 1999,
digital video transferred to DVD, colour, 2:30 min
“Fertilisation - Irrigation”, 1999, digital video transferred to DVD,
colour, 8:40 min
“Remise” (with Alexander Brandt), 1996, digital video transferred to
DVD, 12 min








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