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carlier | gebauer: JANAINA TSCHÄPE | DOR GUEZ - 13 June 2015 to 25 July 2015

Current Exhibition


13 June 2015 to 25 July 2015
Tuesday to Saturday,11 am - 6 pm
carlier | gebauer
Markgrafenstraße 67
D-10969
Berlin
Germany
Europe
T: +49 (0)30 2400 863 0
F: +49 (0)30 2400 863 33
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W: www.carliergebauer.com











Janaina Tschäpe Fernweh I, 2015
Mixed media on watercolor paper 152,4 x 244,4 cm
© Courtesy the Artist and carlier | gebauer
12


Artists in this exhibition: Janaina Tschäpe, Dor Guez


carlier | gebauer is pleased to announce two parallel solo exhibitions:

Janaina Tschäpe: Fernweh
13.06. - 25.07.2015

carlier | gebauer is pleased to announce the Brazilian-German artist Janaina Tschäpe ’s fourth solo exhibition with the gallery, opening Friday, 12 June from 6-9pm. The exhibition will include a new large-scale work on canvas, a series of large-scale watercolors entitled Fernweh, a video by the same name, and a series of watercolors.

Liquids, biomorphism, memory, hybridity, and the plasticity of subjectivity: these associations offer only a brief introduction into the artist‘s layered conceptual lexicon. TschŠpe’s work explores landscape as a site of morphological transformation. The natural world forms the stage in which abstract primordial scenes of longing, sex, and death play out, whether in painting, sculpture, photographs, or on the screen.

The corporeal merges with flora and fauna in Tschäpe ‘s mixed media work Girl Watching a Bird on the Horizon (2015). A riotous play of sensual, cascading markings unfurl across the 3 x 4 meter canvas. Elegantly biomorphic looping lines evoke the female form rapturously multiplied ad infinitum, a swarm in flight, or exuberant jungle overgrowth. Despite the work‘s title, there is nary a physical horizon line in sight, suggesting that the horizon in question is a personal one: the limits of one‘s knowledge, experience, and desires.

In Tschäpe ’s video Fernweh, the water line forms a liquid horizon between the stability of the shoreline and the otherworldliness of aquatic depths. Unlike TschŠpe’s earlier videos, which evince a strong focus on the body in states of transformation, Fernweh eschews depicting humanoid form in favor of vines, schools of fish, and other marine life. The restless aquatic imagery combined with the video‘s haunting ambient soundtrack suggest that another type of subjectivity propels the camera’s gaze. As writer Rafael Vogt Maia Rosa remarks, the post-experiential reality that the video depicts could also be interpreted as unfolding through “the frightened eyes of a invertebrate [who represents] the sacred weaknesses of many people.” The viewer’s heartbeat connects with this phantom life-form’s “uninterrupted pronunciation of gutural sounds, linked as mantras of a being in permanent mutation.”

This restless visions contained in the video find resonance in a related series of works on view in the exhibition. Fernweh I, a large-scale mixed media work on watercolor paper, depicts a phosphorescent tangle of sinewy electric blue lines that delicately dance atop a washy, green-grey ground. Deriving their titles from the German word for wanderlust, the landscapes in this watercolor series propose an ethereal jumble of memory and desire.

Janaina Tschäpe  (b.1973, Munich) lives and works in New York City and Rio de Janeiro. Her work has been exhibited in prestigious international institutions, including Jeu de Paume, Paris; IMMA, Dublin; Rubin Museum, New York; Museu de Arte Moderna, Rio de Janeiro. Her work is held in distinguished collections such as the Centre Pompidou, Paris; National Gallery of Art, Washington; Solomon R. Guggenheim Museum, New York; Thyssen-Bornemisza Art Contemporary, Vienna; and the Inhotim Centro de Arte Contemporânea , Minas Gerais.


Dor Guez
13.06. - 25.07.2015

Opening: Friday, 12 June 2015, 6-9pm.

carlier | gebauer is pleased to announce Dor Guez’s third solo exhibition with the gallery, opening Friday, 12 June from 6-9pm.A leading critical and artistic voice from the Middle East, Dor Guez interrogates both personal and official accounts of the past. Guez’s current exhibition with carlier | gebauer presents works from the first part of the artist’s ongoing project The Sick Man of Europe a five-part project that examines the military history of the Middle East through the lens of the lives and creative practices of individual soldiers. The first chapter of this project, entitled The Painter, was recently presented at ICA Lond on and Villa Stuck Museum in Munich. Through films, archival source materials, photographs, and scanograms, The Painter tells the story of D. Guez, a Jewish Tunisian painter-turned-soldier who immigrated to Israel, and was conscripted into the army in 1973 to fight in the Yom Kippur War.

In his exhibition with carlier | gebauer, Guez will present a series of “scanograms” that relate to thirteen paintings made by D.Guez during the war. Guez utilizes the scanner as a form of camera. Each scanogram is made bylayers of scanning, with each layer programmed to mirror a different aspect of the original painting: their surface textures, tears and creases, and evidence of handling. Guez then composes the layers into one image. This technique of multiscanning stres ses the history of the material at hand; the prominent rips and tears border on abstraction and seem to almost take on a three-dimensional form. Curator Achim Bordchardt Hume elaborates on this technique in his text Drawing a Line:

“Scanography is a radiography technique in which a narrow beam of light is moved along the object under investigation to produce a life-size scan that helps diagnose various medical conditions. The objects exposed to this method here are the paintings of D. Guez. Rather than focusing on the paintings as such, Dor Guez uses their material flaws, their cracks and ruptures to speculate about much wider issues: the depth of trauma, both individual and collective, the challenges of identity, personal memory and official history, the force-field of Western colonialism and Israeli nation-building, and its impact on those most directly affected, not least Arab Israelis and Palestinians.”

Commonly attributed to Tsar Nicholas I of Russia in reference to the crumbling Ottoman Empire, the phrase “The Sick Man of Europe” has subsequently been used by theorists and pundits alike from the 19th century to the present to characterize the chronically unstable areas formerly under the purview of the Sultan’s domain. Guez appropriates this proverbial “Sick Man” by literally reconstructing him as a historic figure and fictional character—an individual and an allegory—who acts and is acted upon in the theater of war.

Dor Guez (b. Jerusalem) is an artist and scholar based in Jaffa. Guez, whose cultural heritage is Christian Palestinian and Jewish Tunisian, is the founder of the Christian Palestinian Archive (CPA) and the head of the Photography Department at Bezalel Academy of Arts and Design Jerusalem. He has presented installments of The Sick Man of Europe at ICA London and CCA Tel Aviv. Forthcoming presentations of the project will take place at ICA Yerevan and MOCAD (Museum of Contemporary Art Detroit). He has had solo exhibitions at Mosaic Room (2013), The Rose Art Museum (2012), and KW Institute for Contemporary Art (2010). He has participated in numerous international group exhibitions and biennials such as the 12th Istanbul Biennial, Istanbul; 17th and 18th International Contemporary Art Festival, Videobrasil, Sao Paulo; the 3rd Moscow International Biennale, Moscow; Palais de Tokyo, Paris; Tokyo Metropolitan Museum of Photography; Maxxi Museum, Rome, and more.


carlier | gebauer
Markgrafenstraße 67
10969 Berlin
Germany
www.carliergebauer.com


carlier | gebauer






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