#Czerlitzki

[abstrakton]

Paul Czerlitzki

[contemporaryartdaily]

"LINES" at Konrad Fischer

[ruiard]

Paul Czerlitzki - Make up

Acrylic, digital print on 100 g Lenza paper on canvas, 190 × 130 cm, 2014

[paintedout]

Paul Czerlitzki

[artlimited]

Paul Czerlitzki | Relay https://www.artlimited.net/agenda/paul-czerlitzki-relay-exposition-painting-galerie-laurent-godin-paris/fr/7583931

[mjaomjaomjao]

Wanda Czełkowska, Paul Czerlitzki at Piktogram, Warsaw

[ksenijajovisevic]

RIEN DE TROP

the exhibition within the exhibition @ L’Atelier, Nantes curated by Alain le Provost. text: Sandra Doublet design: Malou Messien

artists: Gerold Miller Jovisevic Ksenija Mariane Mispelaere Christophe Viart Yves d’Ans Anonymous Paul Czerlitzki Marcel Duchamp Ariane Yadan

[themodernminimalnewyorker]

@work2day Paul Czerlitzki

[danielsans]

Just Pinned to Design: ATLAS | Series of publications for the Zurich-based gallery “annex14”. The first edition was produced on the occasion of an exhibition by Polish-German artist Paul Czerlitzki. http://ift.tt/2pkYmxY

[24pagesblog-blog]

#19_PAUL CZERLITZKI

EDITION 50, 24 PAGES, FORMAT 289 X 380, MAI 2014

[ruiard]

Paul Czerlitzki - September

Acrylic on wood, 210 × 190 cm, 2016

[inspirationofluciescandale]

Paul Czerlitzki, anna, 2016 @paulczerlitzki #contemporaryart #PaulCzerlitzki

[paintdiary]

Paul Czerlitzki @ Johann König, Berlin

suggested by Henning Strassburger

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Copyright of the Artist - Courtesy of Johann König, Berlin Photo: Roman März

Paul Czerlitzki ANNA

Johann König, Berlin 17 January 2015 - 21 February 2015

More details on: http://www.johannkoenig.de/207/107/paul_czerlitzki/exhibitions/anna/press_release.html

[ruiard]

Paul Czerlitzki - Untitled

Acrylic on canvas, 210 × 190 cm, 2017

[micaramel]

Artist: Alexandra Bircken

Venue: BQ, Berlin

Exhibition Title: Ping

Date: November 21, 2017 – January 12, 2018

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of BQ, Berlin. Photos by Roman März.

Press Release:

An important characteristic that marks Alexandra Bircken’s art is the entanglement of different, often divergent, mutually exclusive moments through the demonstration of their virtual simultaneousness. The sculptures instinctively deny generalizing categorizations of any kind. Material, space, form, body and biography form an organic unity of complex relations. As a consequence, one will search in vain for any conceptualising addition of distinct topics in Bircken’s presentations which take the scale of installations. Rather, they mark an existential encounter between, on the one hand, subtle subject matters, compressed into abstraction and, parallel on the other side, processes of a personal, associative opening that aims towards figuration.

Furthermore, the sculptural works that were created for this exhibition present an urgent confrontation with the multiple, mostly adversarial relations of the plastic objects to their own interiority. Although the bodies are sculpturally moulded through a combination of different materials, their anthropomorphic silhouette does not seem to be their only constitutive feature. Rather, it is the inscriptions that stick to the fabrics, textures and surfaces: in Bircken’s works, car- and machine parts, motorcycle outfits and pieces, metal and wood, latex and leather, weapons and taxidermy are equals to knitted or woven fabrics, wool, linen, hair, eggs or braided twigs and other natural materials. Materials, which are normally presumed to have decidedly male or female attributes. Bircken’s works however do not seem to know this simplifying differentiation. At least she does not weigh these opposites up against each other but establishes those otherwise polarising elements – also by making herself a subject in this – as integrative parts within one artistic language of forms. The inherent femininity of the works does not have to be discussed further, precisely because she regards her own body as an imperative condition of her artistic agency. Rather, in its very own complexity, this femininity is presumed as factum.

Going beyond the role of materials as signifiers for cultural codes, upon close observation of the formal level, the combinations of different elements reveal constructions in the sense of protective armours and inhabitable architectures. They invoke a space in which the body finds its place. At the same time, they seem to structure the organism, to imitate and prescribe its oscillating curves and sharp edges. They seem to stabilise and support it while also limiting and confining it. Without directly enforcing this problem, what lies at the core of these works is a psychological depth of focus that can be transferred onto an internal human conflict between structure and chaos. This comes with a yearning for expansion and for overcoming inflexible grids, borders, limitations and rationalisations. Both is at hand and serves its counterpart. The alleged poles are not static per-se but do instead obscure their own definition, hereby making themselves unavailable for a conventional generalisation.

The exhibition ‘Ping’, a title that implies at the same time an onomatopoetic sound as well as the word pain in Cologne regional dialect, is the sixth solo show of Alexandra Bircken at BQ gallery. Bircken’s works are present in notable collections such as Kunstsammlung NRW, Düsseldorf, Museum Ludwig, Cologne, Sprengel Museum, Hanover, Museum Boijmans Van Beuningen, Rotterdam and Frac Normandie Rouen, Sotteville-lès-Rouen. This year, solo exhibitions were presented at the Museum Abteiberg, Mönchengladbach as well as at Le Crédac in Ivry-sur-Seine.

Anna Czerlitzki, 2017

Link: Alexandra Bircken at BQ

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2BnYiDj

[micaramel]

Artist: Reena Spaulings

Venue: Museum Ludwig, Cologne

Exhibition Title: HER AND NO

Date: June 3 – August 27, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist and Museum Ludwig, Cologne. Photos by Rheinisches Bildarchiv Köln, Britta Schlier.

Press Release:

Who—or what—is Reena Spaulings? Since 2004 the name has stood for various collective artistic activities. Initially Reena Spaulings was the title of a novel written by an undisclosed number of anonymous authors from the circle of the artist collective Bernadette Corporation. Around the same time, a commercial gallery with an exhibition space in New York was founded, which since then has represented artists such as Merlin Carpenter, Jutta Koether, Claire Fontaine, and Klara Lidén. Also in 2004, an artist collective was formed that operates under the name of the fictional artist Reena Spaulings, creating collective paintings that are both reflective of the system and self-deprecating.

HER AND NO is Reena Spaulings’s first solo exhibition in a museum. The presentation focuses on the collective’s artistic work. Created especially for this exhibition and including new works, new versions of existing series of works, and existing works that deal with the status of the artist in society in a wider sense, the installation also plays with the format of institutional museum exhibitions. For Yilmaz Dziewior, director of the Museum Ludwig, the multilayered spectrum of Reena Spaulings’s practice is an ideal fit for the new series HERE AND NOW at Museum Ludwig, because it questions the roles of the different participants in the art world in a critical and entertaining way.

Three freestanding, large-scale panels made of aluminum are featured in the exhibition. The subject depicted here is an adaptation of Gustave Courbet’s famous painting The Meeting (Bonjour, Monsieur Courbet), in which the painter, during a hike in the countryside far from the urban cultural scene, runs into his patron Alfred Bruyas. Reena Spaulings transposes the scene from 1854, in which Courbet presented himself as a self-confident outdoorsman, into the present. In doing so, she offers a tongue-in-cheek analysis of the painter’s awareness of his role back then as well as today, simultaneously pointing to the delicate balance of dependence within the art world. In the same spirit, the fourteen-piece portrait series Advisors, which portrays famous male and female art consultants, examines their growing significance in the art market. Although since the beginning of modernism artists no longer depend on patrons for commissions—the genre of portraiture can today be understood as a symbol of this kind of relationship—they are still influenced by clearly discernable market and power mechanisms that become apparent in the seemingly autonomous decision to paint the Advisors series.

In addition, new adaptations of the most important series of works by Reena Spaulings can be seen in the exhibition. The painting technique ranges from pointillism in the New York and Cologne pictures, following Oskar Kokoschka’s View of Cologne from the Messeturm (1956), to paintings created by cleaning robots, which possess a surprising vitality and vividness that at first glance is reminiscent of William Turner’s sea pictures. In both series the attempt at a collective painting practice is paramount, a practice that overrides the idea of individual authorship and artistic style.

REENA SPAULINGS: HER AND NO was curated by Anna Czerlitzki. It is the third exhibition within the project series HERE AND NOW at Museum Ludwig, which is an experimental format that critically examines conventions of presenting art in museums and questions the approach of its own institutional work.

Link: Reena Spaulings at Museum Ludwig

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2xDELZY