translated and summarized by: Liz Wollner-Grandville,
English summaries April 6 - May 4
Eric Fischl – Friends, Lovers and other Constellations13.02.2014 - 18.05.2014Frozen IdyllsBy Daniela Gregori
If there is something in the USA at the end of the 1970s which does not interest the art scene, it was figurative painting – so the reminiscent opinion of Eric Fischl. And the artist feels drawn towards this for a good reason – "I wanted to draw the viewer closer and more explicitly into my dramas. My goal was first to get them to see exactly what I saw and then to feel what I felt", he said in an exhaustive interview about the catalogue for the exhibition in the Albertina.
One knows Fischl's paintings, the master brings the double entendres of the so-called everyday onto the canvas, smooth and glistening. One never really knows what to make of them. What will happen in the next moment? Does it concern the details of the decor, requisites or indicators? Might everything be quite harmless? Fischl lets the viewer himself tie everything up in one moment. "In a certain instant, the scene stops being a scene and becomes an experience. It's an experience because something happens that makes it memorable because it changes the direction in which the people were moving, physically as well as emotionally."
His bronze sculptures and delicate aquarelles are presented and in a separate area. One would like to see them in connection with Degas' ballet dancers, because what is dancing other than trying to defy gravity – but it is simply the opposite. Here, it's not about artistic presentations but about the flight into gravity in a sheer, desperate situation.
The quotes are taken from the accompanying catalogue "Eric Fischl – Friends, Lovers and other Constellations" published in the Verlag für modern Kunst, Nürnberg www.vfmk.de
1010 Vienna, Albertinaplatz 1
Tel: +43 1 534 83 -0
Fax: +43 1 533 76 97
E-mail: firstname.lastname@example.orgGalerie Tanja Wagner
Annabel Daou – your secret is safe with me03.05.2014 – 14.06.2014Intuition and capacity for flightBy Thomas W. Kuhn
"What do you want?" – over three days, Annabel Daou (*1967 in Beirut) asks the visitors to her exhibition what they are aiming for, what they require, what they want. She posts the answers on narrow ribbons, which are then gilded and hung upon thin strings. The artist, who lives in New York, creates fragile-looking works in which she pursues existential questions and thereby ultimately considers to which extent language is able to offer form to these questions and their answers.
It almost appears symbolic that the thin paper strips on which she writes her answers are, in fact, repair tape. Transient like these strips, which are reminiscent of tickertape and telegrams from analogous times, all that appears which is beyond our desire and is already allegedly in our posession. A piece of art that corresponds to the width of two outstretched arms, encompasses all material and immaterial goods which are in the possession of the artist.
In her second solo exhibition with Tanja Wagner, Annabel Daou appears freed from the conceptual constraints and guidelines, which were present in earlier works. "I work more intuitively than earlier when I write texts immediately onto the repair tape and, just as intuitively, cut them into pieces as they are then seen in the work." And astoundingly, the apparently so-fragile reliefs are that much more stable.
Galerie Tanja Wagner
10785 Berlin, Pohlstraße 64
Tel: +49 30 86430120
Fax: +49 30 86430123
Opening hours: Wed-Sat 11:00-18:00 hoursGalerie Guido W Baudach
Björn Dahlem – Orbits of High Velocity Stars02.05.2014 – 07.06.2014Micro, macro and hidden chaosBy Thomas W. Kuhn
The objects and installations are extensive, like heavenly bodies in space, and Björn Dahlem's (*1974 in Munich) newest creation in his sixth solo exhibition at Guido W. Baudach' gallery once again extols the theme of an astrological phenomena. It's all about stars that gyrate at high speed around chaotic, non-elliptical courses with sources of great gravitational force. Björn Dahlem has created two of these stars out of old lamps and new bulbs that are anchored in wooden, five-cornered polyhedrons. The sculptor has also hung these two "stars" from the ceiling, as those from roof battens made out of bent, timbered trails that fabricate an image of the course of the planets through space. In addition, he has revamped the entire exhibition hall into a white, multi-cornered environment, which creates a futuristic atmosphere. The model turns the visitor into a stellar observer who can ramble around the cosmic structure from all sides. The constellations are accompanied by a show case, which, with a further model, illustrates the so-called "dark material" in space.
Björn Dahlem, who holds a professorship at the Kunsthochschule Braunschweig remains true to this themes and his manner of representation, whose significant form language can be traced back as far as the late 1990s. His playful approach to the theme of astrophysics can first be seen at second glance, how virtuously the artist who lives in Berlin knows how to constitute a changing relationship between space and object. He delivers an autonomous vision of scientific theories which he – ultimately based on an old tradition – makes visible in an artistic context. In an ingenuous way, his sceneries allow reflection on the idiosyncratic relationship between the very large and the very small, between the microcosm and the macrocosm.
Galerie Gudio W. Baudach
10785 Berlin, Potsdamer Straße 85
Tel: +49 (0)30 31998101
Fax: +49 (0)30 31998103
Opening hours: Tue-Sat 12:00-18:00 hoursGalerie Crone
Georg Karl Pfahler – The Tex Series03.05.2014 – 0706.2014So much for Hard EdgeBy Stefan Kobel
No right angle anywhere. Berlin's Galerie Crone may not, or in fact doesn't want to, participate in Berlin's Gallery Weekend. However, like most of its other colleagues in the capital, it will not miss the chance to use the first weekend in May for an ambitious exhibition opening.
Almost everyone knows Georg Karl Pfahler. His graphic works with geometrical forms, sharp edges and rounded corners were mass products in the 60s and 70s, the Deutsche Bank logo is based on his design. In 1970, he represented Germany at the Biennale in Venice (with Heinz Mack and Günther Uecker) and in 1981, at the Biennale in Sao Paulo. Whilst Mack and Uecker were widely ascribed to the German Zero Group, Pfahler was always seen in connection with the purely American Hard Edge movement because of his use of figurative, geometrical forms.
The current exhibition shows that Pfahler hasn't let himself be reduced only to Hard Edge and is, perhaps, even wrongly positioned there. Because unlike his American colleagues, colour was just as important to him as form. Its use was otherwise only so clear, so clean and also so trendy in Pop Art. Because the exclusive presentation of pictures from the "Tex" series, created in the middle of the 60s shows that Pfahler's work encompasses an amazingly large spectrum and his objective plainly went much further beyond the Hard Edge. Wieland Schmied, who died last week, alluded much earlier to what space means for Pfahler: "Pfahler thinks primarily in spaces and then, secondarily, in lines and colours and forms. He trusts colour, form, surface. But he thinks in spaces. He constructs his pictures".
10969 Berlin, Rudi-Dutschke-Strasse 26
Tel: +49 30 258 99 37 0
Fax: +49 30 258 99 37 1
Opening hours: Tue-Sat 12:00-18:00 hours