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Galerie Peter Kilchmann: ZILLA LEUTENEGGERR I MICHAEL BAUER - 2 Sept 2011 to 29 Oct 2011 Current Exhibition |
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ZILLA LEUTENEGGERR
Installation view, Galerie Peter Kilchmann, 2011 |
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ZILLA LEUTENEGGER - ROCK THE CHAIR MICHAEL BAUER - THE SUMMER I STARTED COLLECTING KNIVES Opening: Thursday, September 1st, 2011, 6 - 8pm Exhibition: September 2nd - October 29th, 2011 The artists will be attending the opening. ZILLA LEUTENEGGER Rock the chair Rock the chair is Zilla Leuteneggerʼ s seventh single exhibition at Galerie Peter Kilchmann. The artist is presenting several new video installations and video drawings, three of which are created for this show. The installation and video works in the exhibition are complemented by a number of new drawings. Zilla Leutenegger was born in 1968 in Switzerland. She studied at the University of the Arts Zurich and lives and works in Zurich. There is a table and a chair. There is also a person, not really sitting on the chair, but rather leaning back on the rear edge as far as possible. The chair is slanted, and she steadies herself by holding onto the table ( Rock the chair , 2011). How far can she lean back without the chair tipping over? The tipping point is something inherent to the works of Zilla Leutenegger. Like an ambigram the pieces shift in the viewers ʼ perception. Take two steps to the right, and suddenly the black lines on the wall are recognizable as the continuation of the chair already sticking out partially ( First seat , 2011). The tipping point might occur when you look at a wall drawing of a bubble chair and suddenly realize that you are actually looking into a room through a rain-streaked window. In reality, that painted hanging chair is moving, kept in motion by the person sitting inside, who absentmindedly pushes herself off the ground every so often ( New York , 2010). These are no wild worlds, which Zilla Leutenegger presents to her audience. Instead, the persons, who act for themselves and are unaware of any viewers are the focus of Zilla Leutenegger ʼ s works. This becomes increasingly clear in the drawings, in which the artist captures small gestures and actions of her own daily routine. For Zilla Leutenegger, the medium of drawing functions through its directness. Armed with a pencil and a piece of paper, the observer Zilla is bound to an immediacy and spontaneity apparent in every line. Zilla Leutenegger dissects the boredom of everyday life and extracts single moments, which develop an unexpected poetry when seen separately. The installations can be thought of as the continuation of the drawings in three-dimensional space, breaking through the barrier of the wall. However, we are still confined to consolidate structures. In the exhibition this is made clear by placing all scenes in a domestic setting. There is a kitchen ( Marciaʼ s Kitchen , 2011), a bedroom (Vollmond, 2008) and a living room (Forever can begin , 2011) – the mundane life stands contrary to the suggested adventure. Thus the title of the exhibition might well be read as a challenge to stir things up every now and then: Rock the chair! Galerie Peter Kilchmann has represented Zilla Leutenegger since 1998. Recent single exhibitions include the following: “ More than this. Werke aus der Sammlung Goetz” , Weserburg, Museum für moderne Kunst, Bremen, 2011; Zilla und das 7. Zimmer , Kartause Ittigen, Kunstmuseum Thurgau, Warth, 2008; Bienvenue!, Centre dʼArt Passerelle, Brest, 2008; Meet me in the Library (9 P.M.) , CCA Center for Contemporary Art, Tel-Aviv, 2007; Wichtiger Besuch , Saarlandmuseum, Saarbrücken, 2006. Among others, the following collections are in possession of works by Zilla Leutenegger: Centro Galego de Arte Contemporaneo, Santiago de Compostela; Museion Museo d'arte moderna e contemporanea, Bolzano; FRAC Lorraine, Metz; FRAC Champagne-Ardenne, Reims; Kunstmuseum Basel, Basel; Kunsthaus Zürich, Zurich; Sammlung Goetz, Munich. MICHAEL BAUER The summer I started collecting knives The exhibition The summer I started collecting knives is Michael Bauerʼ s second single exhibition at Galerie Peter Kilchmann. In his paintings and drawings, the artist goes beyond traditional visual narratives. The gallery proudly presents several works on paper as well as a new large-format painting and a recent sculpture. Michael Bauer was born in 1973 in Erkelenz, Germany. He studied at the Hochschule für Bildende Künste in Braunschweig and lives in Berlin and New York. In his work Michael Bauer mixes components of the real world with phantasm. Image space is insinuated and destroyed at the same time when Michael Bauer creates worlds on paper and unprimed canvas with thick streaks of oil paint and resolute lines of charcoal. Layers of color and resins become detailed figures and geometric planes, while glued-on photos and paper snippets bring out the flatness of the images. The cryptic titles of the works suggest other meanings, and allow for a whole new array of interpretations. These are in the best possible way disorderly worlds, which Michael Bauer presents to us. Gilles Deleuze and Felix Guattari would be delighted. In 1977 the two described an organizational model, which they titled Rhizome: “Any point of a rhizome, can be connected to anything other, (…) it is detachable, reversible, susceptible to constant modification.” This is also true of Michael Bauer ʼ s approach to art. Without hesitation he takes different subcultures and connects early anarchic Punk and Hardcore elements. It is fitting that Michael Bauer designed two posters for the exhibition, which are displayed next to the painting and drawing with noticeable naturalness. Despite the effortlessness with which Michael Bauer incorporates found image material into his work, his main focus remains on the painting and drawing in all its intensity. That, which Deleuze and Guattari declared concerning books, can freely be translated to mean Michael Bauer ʼs pictures: “Find the parts in a picture which you can relate to. We no longer read and write in a traditional sense. There is no death of a picture , but rather a new way of reading. There is nothing to understand about a picture , but many things that can be used. (…) The combinations, permutations and instructions are never immanent in a picture . Rather, everything depends on external relationships. So yes, take what you like.” This year, the artist had the solo exhibition K-Hole (Frogs) at Villa Merkel, Esslingen, to which a catalog is being published. At the same time the artist acted as curator, putting together a show in which contemporary artists were exhibited alongside so-called outsider art. Already earlier Michael Bauer invited other artists to exhibit within the context of a group show. This year the Norma Mangione Gallery in Turin, staged an exhibition by Michael Bauer. Worth mentioning is also Michael Bauer ʼs solo exhibition Anthem at Kunsthaus Baselland in Muttenz, 2009. He has also been involved in several group shows, such as The Cannibal ʼs Muse II, Autocenter, Berlin, 2011; PPP – Public Private Paintings , Mu.ZEE, Ostend, 2010; Die andere Seite , KAI 10, Raum für Kunst, Düsseldorf, 2009; Faster Bigger Better , ZKM, Karlsruhe, (Sammlung Boros), 2006. |
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