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Contemporary Fine Arts Berlin : RALF ZIERVOGEL | MICHAEL KUNZE - Schwarzorange - 3 Jan 2012 to 4 Feb 2012

Current Exhibition

3 Jan 2012 to 4 Feb 2012
Tue - Fri 10 - 1 and 2 - 6 Sat 11 - 5
Contemporary Fine Arts Berlin
Am Kupfergraben 10
T: +49-30-288 787 0
F: +49-30-288 787 26

Ralf Ziervogel, ohne Titel, 2011
ink on paper
151 x 146 cm / 59.45 x 57.48"

Artists in this exhibition: Ralf Ziervogel, Michael Kunze

MICHAEL KUNZE - Schwarzorange

03 January - 04 February, 2012

Contemporary Fine Arts is pleased to present for the first time a solo exhibition with new drawings by Ralf Ziervogel (*1975).

Ralf Ziervogel, who studied at the Berlin University of the Arts with Lothar Baumgarten, is known for his delicate and complex ink drawings predominantly showing human bodies which in monochrome ornamental nettings proliferate lengths of paper with meticulous precision. In this exhibition, Ralf Ziervogel’s new ”declensions of the body“ are characterised by a change from smaller to life-sized bodies. Adopted to the gallery space and concept, the artist transfers his fine and extensive drawings onto paper with large widths of up to five metres. Primarily male human bodies are caught in extreme physical situations from which they cannot escape. They are enchained, entangled and knotted. However, Ralf Ziervogel’s works are and show more than only morbid inventions of violence. As Dominikus Müller points out in ”Every Adidas Got Its Story“, it is the theme of ”coupling and uncoupling; of interlinking and dissolving“ as well as the question of stretchability of things as much as of reality. Ralf Ziervogel draws his figures in his hand’s sphere of action and develops the spacious sceneries in classical ink technique step-by-step during the operating procedure without any tracing. Thus, in delicately drawn chains, one body is tied to another, limbs are bound together and destroyed so that the twisted figures and settings are gradually growing. From a distance however, the detailed and amorphous abysses become ornamental patterns in which there seems to be no beginning and no ending. The large format Ziervogel is operating with in this exhibition favours this through the distanced perspective the spectator needs to take when faced with the height and length of the individual sheets. The beholder is located in a Petri dish of the drawing rather then just in front of it. In the large format, the potential of the graphic medium is proved just as the interplay with close and distant view.

Michael Kunze’s paintings are filled with literary, philosophic, art historical and architectural reflections which he transfers into cryptic, irrational appearing scenes, architectural constructs or utopic landscapes. Coherent and possible meanings are sketchily veiled, confrontations of different pictorial elements sometimes act absurd and demand for an intensive dialogue with the work.

The current exhibition at Contemporary Fine Arts is presenting works taken from the eponymous series “Schwarzorange” and the work group “Narkaden”.

“Schwarzorange” (“Black orange”) shows architectural compositions under a cloudy heaven which are bathed in theatrically directed light. Dominating are the multilayered contrasts concerning content and formal levels. The title communicates a maximal contrast according to a light and dark-coloured scale which finds its expression in orange and black oranges and can be found in a lot of counterparts. The architectural scenery also contains apparent opposites. Fragments of the modern and pre-modern architecture collide and merge at the same time into one making the boundaries dissolve. In doing so, Kunze creates a bridge between Mies van der Rohe and the totalitarian architecture of the 20th century or between Frank Lloyd Wrights “Fallingwater” and the “Villa d‘Este” in Tivoli. Thus, he leads an avoidable incompatibility ad absurdum.

The title “Narkaden” is a word creation by the artist. It is comprised from the Greek “narkein” meaning “to be paralysed” and the ending “-ade” which stands for “Nomad” and signifies “paralysed wanderer”. This contradiction and its absurdity continue in the artist’s work. Kunze depicts mask-like faces which are without shape or expression and completely schematised, appearing arbitrary and interchangeable. Through cloth-like, ornamental elements, however, they coalesce. Furthermore, there are only a few narrative moments. Kunze leaves the context unclear hinting at occurrences and interjecting the sceneries with diverse metaphorical references. He relinquishes it to the viewer to reach out for them and find a possible solution or to leave the puzzling atmosphere untouched.

Contemporary Fine Arts Berlin

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