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EXHIBITIONS

Asger Dybvad Larsen “Transformed in Translation” and Andreas Zingerle “Energy Saving” at Rolando Anselmi, Berlin

Asger Dybvad Larsen “Transformed in Translation”

Larsen works mainly on the physicality of the painting and on the transformation of traditional paintings materials. His works are both painterly and highly tactile and are identified most clearly in their dialectical conversation with the medium’s traditions and its classical structure. For this exhibition Asger Dybvad Larsen concentrates in the transformation that happens when you press a painting, covered with wet paint, against another painting.

In his “Paint tray paintings”, he investigates surfaces and focuses on motif, material, processes and themes. An acrylic paint-cast of a paint tray surface structure is attached on a canvas and acts as an abstract motif in the work, referring back to the precursors and the basic materials of traditional painting. This particular process focuses on the physicality of the painting and includes a stage of the process in the surface of the artwork itself. Asger Dybvad Larsen’s paintings are well determined by a dialectical relation to tautology and autonomy, with a continuous reference to themes and traditions of post-war art. This includes a reference to Ad Reinhardt and his text: “Art as Art”, where repetition and autonomy are essential and the personal sign of the individual gesture is rejected in favor of an art that tries to achieve a form that does not refer to anything other than itself. Larsen relates to this tradition but at the same time creatively breaks, through unexpected interventions, with the postmodern accession towards painting and the conventions of 20th-century abstraction. In his “Pressure of paint tray paintings”, the transformation from a paint tray painting to a print of the paint tray casts, adds a complementary layer of meta-process to his work. The artist uses this ultimate gesture as further investigation into the medium and as a tool to create a theoretical framework that challenges the dialogue of the traditional understanding of painting.

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at Rolando Anselmi, Berlin

until 5 June 2015

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Asger Dybvad Larsen “Transformed in Translation” installation views at Rolando Anselmi, Berlin, 2015

Courtesy: Rolando Anselmi, Berlin.

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Andreas Zingerle “Energy Saving”

They depict everyday objects such as shoes, t-shirts, lamps or item of clothing that the artist manipulates and reshapes, working in the boundary between abstraction and representation. Zingerle freezes in its white cement casts, images linked to the current dominant issues of energy saving and scarcity of resources. He leads to a rethinking on the consumption and production of everyday objects, without ever giving up a tip of artistic-ironic detachment. Starting point is the typical U-shaped tube of the basic saving energy lamp’s extremity, which we find again in the hybridization of some of these otherwise familiar objects. Zingerle sculptural qualities are reflected in the tactile surface of these absurd objects, which despite the severity of the composition and the formal accuracy that characterize his works, they do not renounce to stage an essential uncertainty, a distance that makes them accessible through the multifaceted language of art. The main interest of Zingerle resides in the iconography of everyday life. His aim is to overcome the anesthetizing process of social structures bringing the viewer back to the purity of its representation.  In that sense, instead of highlighting the insignificance and pettiness of the objects of daily use, he succeeds in giving them an artistic dignity back. His work focuses on the double and parallel nature of reality, redefining it with simple and clear notions. The physicality of his sculptures appears in dramatic contrast with the flowing and flexible materials of the original objects, underlining the paradoxical tension between presence and absence, the duplicity of original and copy.

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at Rolando Anselmi, Berlin

until 5 June 2015

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Andreas Zingerle “Energy Saving” installation views at Rolando Anselmi, Berlin, 2015

Courtesy: Rolando Anselmi, Berlin.

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