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carlier | gebauer: Przemyslaw Matecki | Project Space : Rosa Barba : Outwardly from Earth’s Center - 29 Oct 2008 to 20 Dec 2008

Current Exhibition

29 Oct 2008 to 20 Dec 2008
Tuesday to Saturday, 11 a.m. - 6 p.m.
Vernissage: 28.10. 6 p.m. – 9 p.m.
carlier | gebauer
Markgrafenstraße 67
p: +49 (0)30 2400 863 0
f: +49 (0)30 2400 863 33

Przemyslaw Matecki
Untitled, 2008
oil on canvas and paper, 61 cm x 50 cm
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Artists in this exhibition: PRZEMYSLAW MATECKI, ROSA BARBA

Przemyslaw Matecki
29.10. – 20.12.2008
Vernissage: 28.10. 6 p.m. – 9 p.m.

On Tuesday 28.10.2008 carlier | gebauer will be launching Polish painter Przemyslaw Matecki’s first solo show. His paintings, composed of magazines, found photographs, documents and oil paint will be exhibited here for the first time in Berlin. Whilst in the past Matecki worked primarily in the format of the magazines whose pages he painted over, he now also produces collaged paintings on canvas. In these pieces he arranges found photographs and materials around which he shapes his painting.

In his smaller works he takes pages from glossy magazines as his base, opening up views of icons of popular culture set between thick abstract layers painted over the underlying images. In contrast, this relationship is turned on its head in his larger canvases. In these works he affixes found photographs, notes and documents of unidentified individuals to the canvases and begins to intensify his painting more and more around these elements, until it finds its own particular direction, with the resulting colour gradients endowing a new cohesion on the photos and the materials. The connection established changes fundamentally in each piece, reflecting the way in which the source material varies. Matecki reproduces the moment of confrontation in which painting encounters the found image. Global pop icons, ranging from Superman to Robert Smith, isolated from the context of their fans’ devotion, demand a different colour palette than the so much more regionally determined aesthetic of porn magazines or the alienating intimacy of found black-and-white photo albums. The way in which Matecki works with these varying formats is not guided by the notion of sorting and classifying, but instead by the direct painterly emotion of the photographic image. Matecki’s painting is real.

With the paint applied in a myriad of layers, Matecki’s painting never seems formal, and never comes to rest. It produces its reality from photographic clues. It is not so much searching for a definitive form but instead might be said to be seeking a direction where the painting will converge with the documents applied to its surface. It creates a record of the process of the work done on the images, an urgency and presence that spring into being as a result of the conjunction of found documents and painting. When conjuring up these images, Matecki does not hunt out the photos he works on: he stumbles upon them, in Warsaw’s streets, in flats, by chance. This method allows him to create a visual universe in which all the elements appear to enjoy equal status. People are incorporated into his abstract paintings, sometimes as emblems of mass culture, such as in his earlier works, sometimes in photos from family albums, as is the case in this exhibition. With this sense of an assemblage of clues, into which pop icons and anonymous individuals are slotted, Matecki’s works set up a penetrating, almost violent, tension-imbued relationship between found documents and their painterly integration into the canvas.

Rosa Barba | Outwardly from Earth’s Center
29.10. – 20.12.2008
Vernissage: 28.10. 6 p.m. – 9 p.m.

At the same time as Matecki’s exhibition, a work by Berlin-based filmmaker Rosa Barba will be shown at carlier | gebauer for the first time in the gallery’s project space. The film “Outwardly from Earth’s Center” (2007) is Barba’s first presentation as one of the gallery’s artists. Taking historical and social facts as her starting point, Barba develops narratives that create fictional spaces composed of films, installations and publications. Here the film reels frequently form part of the material, along with the sound of the projectors. Her works should therefore often be understood as sculptures and the projectors as “witnesses” to the projected films, She frequently deploys 16mm film and projectors: media in which¸ in contrast to digital formats, “moving images” can still be experienced as a sequence. Barba also explores this approach to narrative as a succession of images in the way she deals with the machines projecting the images.
They are often present as bodies in the space, set opposite one another, in motion or placed along axes running through the space. The sociological and cultural studies that form the point of departure for her works move in on the intersection of the fictional and the real, ascribing equal importance to both, whilst drawing together the various tiers of the past, present and future to form an atemporal space. As a result, it becomes possible to position time and space clearly within the narration.

The underlying idea shaping Barba’s narration in “Outwardly from Earth’s Center” (2007) is based on a geological fact: metre by metre the Swedish island of Gotska Sandön is drifting away from the Swedish mainland. The film depicts the inhabitants’ laborious endeavours to halt this displacement of their island. Yet it appears impossible to situate what is going on within a clear time framework, nor does a consistent, realistic image emerge. Instead, fade-in sections of the present and past are disrupted by edited-in excerpts that cannot be precisely identified in temporal terms: various obscure acts conjure up a context with a surreal air, with real events and statements from academic experts embedded within this setting. The sound was initially generated while the film was being shot, but was then disconnected from the images during post-production and processed separately. When it is once again combined with the film, the soundtrack functions as a reinforcing, distinct commentary.

Works by Rosa Barba are currently being shown in “Italics”, the exhibition curated by Francesco Bonami in Palazzo Grassi, Venice, as well as in “Degrees of Remove” in the Sculpture Center, New York, in “Rooms look Back” at Kunsthalle Basel, and at the Torino Triennale, curated by Daniel Birnbaum

FAIRS 2008
23.10. - 26.10.2008

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