Review for Collectors Agenda:
‘Walking the line’ is an annual group exhibition put on by Galerie Martin Kudlek. Now in its sixth year the show contains work from 9 new artists who have each made an impression on the gallerist’s mind over the last 12 months. The stylistic diversity of the pieces on display is set off by uneven and inconsistent framing which, whilst unorthodox, ultimately works to compliment the unique aspects of each.
Hedwig Brouckaert is a Belgian artist who creates work with tracing-paper and carbon pencil; taking advertising images from magazines and elements such as hair she transfers a variety of forms on top of one another, until their outlines morph into multi-layered masses. The result is simultaneously chaotic and strikingly fragile. The works featured in the exhibition give the impression of wind-tussled haystacks whose kinetic contours and submerged silhouettes assuredly draw the eye in.
The drawings of Dutch artist Hans Lemmen maintain this enticing quality. Putting ink and Casein paint to paper Lemmen creates dream-like depictions of figures and landscapes that teeter on the point of the grotesque. The artist uses dark colours and intense detail to depict macabre subjects; one work, which is drawn upon yellowed paper, features a body being pecked at by crows. Lemmen’s work is skilfully bizarre, he draws eerie matter with such delicate detail that the humour behind it is not lost on the viewer.
Across the gallery hang works from Katrin Bremermann. Using a range of brightly coloured varnishes on paper the artist plays with the possibility of form. Each work is a geometrical frame, the coloured varnish is applied in exact lines and points across the page. These strong outlines create new spaces in which the eye can wander. Bremermann’s work is wonderfully balanced, the underlying pencil lines visible in a few of the works demonstrate the precision of her practice. Although accurate her strict lines feel far from stilted, they draw the viewer in to discovering further forms and new organic shapes.
‘Walking the line VI’ eschews conventional curating in order to showcase the work of 9 very individual artists. An honest display of talent it offers an enlightening alternative to the ‘concept-conscious’ group show.
Photographs Courtesy of Galerie Martin Kudlek: http://www.kudlek.com/
Full list of artists:
Last week a major solo exhibition of German artist Anna Fasshauer opened at Galerie Nagel Draxler, Cologne.
Fasshauer is a Köln-born, Berlin-based artist who operates outside the lines, exhibiting internationally since 2002 she is best known for turning burnt cars and carpets into refined sculptures. It is therefore not surprising that in ‘Sollte,sollte, sollte, könnte, müsste’ she has managed to work with metal as if it were putty.
For her new series of ‘essayistic sculptures’ Fasshauer has manipulated stainless steel sheets and dry wall construction profiles into such elegant shapes that they appear to have been as easily bent as if drinking straws. Behind Fasshauer’s work however, lies an intense physical process; she works alone and with her ‘bare hands.’ Following a ‘stream of consciousness’ Fasshauer forces the metal into intuitively precise forms.
The floor sculptures and wall works are spread across all three levels of the gallery and whilst their strong colours and sharp contours create a determined presence they possess a certain delicacy that prevents them from being imposing. Fasshauer’s sculptures draw the eye towards possible outlines, their brutish presence giving way to potential new form. It is this suggestiveness that makes the work so powerful, the bright colours rather than overwhelming, serve to highlight the subtler aspects of these large abstract forms.
‘Sollte,sollte, sollte, könnte, müsste’ confronts the viewer with a sense of untamed elegance, the nature of which allows the works featured to possess endless interpretations. It is Fasshauer’s ability to create infinite lines from unyielding materials that makes this exhibition so unique.
‘Sollte,sollte, sollte, könnte, müsste’ is on view at Galerie Nagel Draxler until April 04.
Photographs Courtesy of Galerie Nagel Draxler
myr.’s wish to withhold information is made obvious through the choice of track names on the EP: ‘Nobody Knows’, ‘Avalon’ and ‘Homii’ are all titles clearly designed to provoke the listener’s curiosity, whilst upholding a sense of the enigmatic.
Although some might argue that such conscious obscurity is little more than a publicity stunt, surely at a time when the cult of DJ and celebrity are often intertwined there is something refreshing about myr.s decision to step-back. You only have to look at the homemade, monochrome videoclip that accompanies ‘Nobody knows’ to realise that myr. is about as removed from the glitz of DJ culture as it is possible to be.
It is this determined distancing from the norm that comes through is his music. The minimal sound is carried through by an underlying warmth, a grittiness that sets it apart from the often near-perfect production of popular techno. The first two tracks ‘Nobody knows’ and ‘Avalon’ create a sense of anticipation, with minimal, ambient beats that build; the listener is left with itchy-feet and a hankering for more. In the final track on the EP ‘Homii’ there is a change in tempo; the monotone beats make way for some slowed-down, trippy vocals that open the listener up to myr.’s versatility as an artist.
‘Nobody knows Avalon’ is an EP that represents a return to something raw and removed from popular music. As for the mystery surrounding myr.? Well if you can’t put a face to a sound then the only option is to listen.