Berlin 00:00:00 London 00:00:00 New York 00:00:00 Chicago 00:00:00 Los Angeles 00:00:00 Shanghai 00:00:00
members login here
Country / State

Anton Kern Gallery: Eberhard Havekost | Marcel Odenbach - 8 Sept 2007 to 13 Oct 2007

Current Exhibition

8 Sept 2007 to 13 Oct 2007

Hours : Tuesday - Saturday 10 am - 6 pm
Anton Kern Gallery
532 West 20th Street
New York, NY
New York
North America
p: 1 212.367.9663
f: 1 212.367.8135

Eberhard Havekost, Zensur, B07,2007, Oil on canvas
Courtesy Anton Kern Gallery, NY
Web Links

Anton Kern Gallery

Artist Links

Artists in this exhibition: Eberhard Havekost, Marcel Odenbach

Eberhard Havekost

For his fifth solo exhibition at Anton Kern Gallery, German painter Eberhard Havekost has put together a body of 16 paintings under the heading “Zensur.” Thematically and formally intertwined, the paintings address and demonstrate the suppression of visual information. The show is held together by a systematic obscuring and blocking-out of certain sections of the image and by a subdued grey and blue palette.

The English reading of the title is “censorship” and suggests a kind of painterly self-experiment on the artist’s part. Three works depict blankets loosely tossed in a pile and painted with photorealism’s attention to the source image and a baroque sense of drapery and transcendental richness. A triptych entitled “Dunkle Modellwelt” (“Dark Model World”) represents buildings shattered into pieces as if wrecked by the invisible hand of a deranged model-maker. A second triptych expands the mode of blocking-out to the point of almost erasing the underlying image of an interior space and thereby generating paintings of highly abstract qualities. However, rather than obscuring the information and leaving it fashionably ambiguous, Havekost draws attention to its multi-layered and charged meanings. Is the depicted bleakness and devastation affected by natural causes? Are the casually tossed textiles actually emergency blankets?
Is it an image of the American flag behind the black rectangle? What remains at the painterly core of these works is the performance of visual self-censorship, the psychological and epistemological question of how we
deny ourselves to perceive images of the world.

Eberhard Havekost’s work has been exhibited continuously since the early 1990s, most recently in one-person shows at the Tampa Museum of Art (2007), the Stedelijk Museum (2006), the Kunstmuseum Wolfsburg (2005), and the Kupferstich-Kabinett, Dresden (2004). His work has also been included in large group exhibitions such as Imagination Becomes Reality, ZKM, Karlsruhe (2007), Imagens em Pintura, Museu Serralves, Porto, (2006), Trials and Terrors, Museum of Contemporary Art, Chicago, New German Painting, Carré d’Art – Musée d’Art Contemporain, Nîmes, Triumph of Painting, the Saatchi Gallery, London (all 2005), deutschemalereizweitausenddrei, Frankfurter Kunstverein, Frankfurt/M. (2003), and Painting at the Edge of the World, Walker Art Center, Minneapolis (2001). Havekost’s work is included in the following museum collections: MoMA, New York, Tate Modern, London, Los Angeles MOCA.

Marcel Odenbach
Durchblicke (Clear Views)

A 40-foot long paper-collage panorama by German video artist Marcel Odenbach will be installed in the back space of Anton Kern Gallery. The work is entitled “Durchblicke” which translates as “clear views.” It is Odenbach’s fifth show at the gallery and the second in which he presents collages.

Immediately visible, the notion of a clear view, as suggested by the work’s title and its panorama format, is rejected by an all-around vista of dense palm tree thicket. Clear and distant vision is obscured, the spectator’s eye is caught up in the shadows of thickly layered close-ups of overlapping branches, leaves and coconuts. Any suggestion of a sublime landscape is negated in favor of an analytic gaze into the details that make up the large picture. These details are composed of newspaper clippings and press photographs that deal with current political events in several African nations. These are then carefully copied onto watercolor paper, dyed in ranges of green, brown and black, meticulously cut out and pasted onto the outlined paper support, ultimately forming the entirety of the image.

Marcel Odenbach has been exhibiting since 1978 with solo shows at the Hamburger Bahnhof—Museum für Gegenwart in Berlin, the Espacio Fundacion Telefonica in Buenos Aires (both 2006), the Cornerhouse in Manchester (2005), the Govett-Brewster Art Gallery in New Zealand (2004), the Museum of Modern Art in Frankfurt and the Frankfurter Kunstverein (both 2002), IVAM, Centre Julio Gonzalez in Valencia and the Reina Sofia in Madrid (both 1999), and the New Museum of Contemporary Art in New York (1998). His work
has also been included in 40 Jahre at the K21 Kunstsammlung Nordrhein-Westfalen in Düsseldorf (2006), the Sharjah International Biennial 7 in Sharjah, United Arab Emirates (2005), the Istanbul Biennale (2003), open-ends: Counter-Monuments and Memory at MoMA (2000) and Documenta 8 (1987). His work is in the collections of numerous international institutions, including the MoMA, New York.

Follow on Twitter

Click on the map to search the directory

USA and Canada Central America South America Western Europe Eastern Europe Asia Australasia Middle East Africa