Digital Content concerning the work and practice of the gallery’s artists made available online. In an attempt to continue representing our program despite the current situation we embrace connectivity online. Stay safe, stay healthy ♥
FAIR presented by NADA
20 May – 21 June 2020
We are happy to be part of FAIR presented by the New Art Dealers Alliance (NADA) built in partnership with Artlogic. FAIR is a new art fair initiative designed to be entirely online, functioning cooperatively, and acting as a benefit for NADA’s community of galleries, nonprofits and artists. Taking place May 20–June 21, 2020, FAIR will directly support 119 NADA Gallery Members and 81 other galleries that have been financially impacted by the COVID-19 crisis, totaling nearly 200 galleries around the world.
WEEK 2 : 27 May – 2 June 2020
Bradley Davies: ›The Piecemeal with Muammar al-Gaddafi‹; oil on canvas, 90 x 80 cm, 2019
WEEK 1 : 20 – 16 May 2020
Claus Richter: ›Nothing is easy (Mint Edition) 1‹; MDF, wood, varnish, 100 x 70 cm, 2012
Sara MacKillop, Catalogue (2012). Sara MacKillop has a longstanding fascination with stationary, office supplies, catalogues and their roles in labor and leisure. Her Catalogue consists of photos of an envelope cat alogue, or something that resembles an envelope catalogue. The pages of the catalogue within Catalogue show envelopes fanned out in circles and in waves, photographed in such a peculiar way as to make the viewer think that physical envelopes are resting on top of the catalogue’s page. Are they? Catalogue is published by The Block, London (2012) and is available on Printed Matter’s website.
QnA (Queens and Anarchists)
with Sara MacKillop
Can stationery be art?
LA: Where does your fascination with product catalogues come from?
SMK: I like the element of display in them, that everything is displayed at the peak of desirability so particular organisations evolve in them. There are subcategories between brand and type, I have repurposed stationery catalogues, argos catalogues and ikea brochures in many of my artists publications, making uninvited versions of them. The IKEA brochures are based on the free brochures that are printed yearly which cover rooms e.g. bathroom or ranges, BESTA , I have made one so far every year since 2015. I first became interested in them when I moved home 3 Hmes in a year and every new place I was in had a different piece of IKEA furniture or I had to go and get something from IKEA so It seemed like it was this basic unit. I was both attracted and alienated from the contents and use the original composition as a starting point for making new compositions by combining scans, digital versions and photographs. I like that they are free promotional materials and are disposable only relevant for a short period of Hme which works against the usual noHon of longevity or a publication or a book and I enjoy the aesthetic of the printing errors that occur.
LA: Did you ever steal Ikea rulers? 😉
Isabella Fürnkäs‘ work (*1988, Tokyo) attempts to build a bridge between the manifestations of virtuality and physicality. The Boomerang Effect is a performance, which the artist recently presented at Salón Acme in Mexico, as part of its‘ 8th edition. A documentation of the project is available online on Fünkäs‘ Vimeo page. The recorded piece is from a presentation at the Kölnischer Kunstverein (2018). For more information visit the artist’s vimeo.
QnA (Queens and Anarchists)
with Shila Khatami
Lena Albers: Is painting dead?
Shila Khatami: Das Gegenteil ist der Fall. Je weiter die Digitalisierung voranschreitet, desto wichtiger wird Malerei. Sie wird uns daran erinnern, dass wir Menschen sind.
LA: Why are there always holes in your works?
SK: In meinen Arbeiten verfolge ich die Relevanz der abstrakten Formensprache der 1. und 2. Moderne in der heutigen Gesellschaft und wie sie im Grafik- und Produktdesign, der Architektur und der Subkultur fortwirkt. Das Material der gelochten Platten ist minimale Formensprache im Gebrauchskontext und daher ein gutes Beispiel dafür. Es dient mir mit seinem vorgegebenen Raster zu einem zeitgemäßen Umgang mit geometrischen Formen.
LA: Why gym bags?
SK: Die Edition für den Kunstverein am Rosa-Luxemburg-Platz ist ein Kommentar auf die kommerzielle Vereinnahmung malerischer Gesten durch das Design. Durch die Lage des Kunstvereins mitten im Fashion District von Berlin wird einem dies nochmal vor Augen geführt. Die Gesten auf den Turnbeuteln spielen mit dieser Ambiguität, stammen jedoch aus dem ursprünglichen Kontext. Es sind Spuren der dort gezeigten Arbeit Wall Work.
LA: Last book you read?
SK: The Medium is the Massage, eine Zusammenarbeit von Marshall McLuhan mit dem Grafiker Quentin Fiore von 1966, eine erschreckend visionäre Reflexion der Medien, die wir ständig benutzen, gerade in der jetzigen Situation hochaktuell. Das Buch selbst wird hier als Medium reflektiert: schon das Cover zeigt nur einen Daumen(, der das Buch in der Hand hält).
Exhibition Archive, Daniel Maier-Reimer, walk following the Florence city boundary line presented by David Brooks (2013) The photographs taken during a walk along the Florence city limits also present a close-up view of a landscape: a place that could be everywhere and nowhere. Its representation of an area in the urban periphery falls far behind the experience of the journey, the route traveled and its duration, and yet it is precisely this non-place that is inseparably tied to the map as the marking of a specific location. It is the moment of recollection that preserves distances traveled. For his solo exhibition at Clages, Daniel Maier-Reimer invited American artist David Brooks to develop a visualization of this hike. Find documentation and further information here.
Daniel Maier-Reimer, The Way We Are 2.0, organized by the Weserburg Museum of Modern Art in Bremen, brings together artists from various times and contexts in a wide-ranging investigation of content and form. Daniel Maier-Reimer contributed a selection of photographs
Olivier Foulon, Soft Return, In 2019 Olivier Foulon presented his exhibition Soft Return at Clages. The title picks up on his previous project titled Hard Return that ran at Temporary Gallery in Cologne the year before. A newspaper distributed to all mailboxes in a city in the west of Germany alerted the population of the reflux of drugs in local drinking water which may or may not be linked to the American airforce base nearby. Alongside the pamphlet Foulon printed out Cady Noland’s seminal essay „Towards a Metalanguage of Evil“. Reflected in the current climate on a global scale Soft Return reads as more relevant than ever. You can find more information, including images and a press-release here.