THIS WHEEL´S on FIRE a Show in Association with Rob Tufnell Aaron

THIS WHEEL´S ON FIRE A show in association with Rob Tufnell Aaron Angell, Michael Bauer, Will Benedict, Henning Bohl, William Copley, Charlie Hammond, Corita Kent, David Robilliard 4. November – 19. Dezember 2015 This Wheel’s on Fire is an exhibition of shared enthusiasms. The title of the exhibition comes from Bob Dylan and Rick Danko’s 1967 channeling of the Hebrew prophet Ezekiel’s writings (c. 570 AD). Aaron Angell’s ceramic sculptures were produced at his Troy Town Art Pottery in London. This ‘studio pottery’ is his self- styled ‘psychedelic’ re-imagining of a mid twentieth century grouping of artisanal ceramicists. Amy Sherlock, writing in Frieze Masters (2014), describes how Angell’s ‘… weirdly wonderful work is steeped in the folk and the folkloric: his sculptural dioramas are like mushroom-induced visions of a bucolic England of myth and monster.’ Angell (b. 1987) lives and works in London. He has recently held solo exhibitions of his work at Studio Voltaire, London (2015), SWG3, Glasgow (2013) and at Focal Point, Southend-on-Sea (2011) and his work has been included in significant group exhibitions at Kestnergesellschaft, Hannover (2014), Palais de Tokyo, Paris and CCA Ujazdowski Castle, Warsaw (2013). He is currently participating in the British Art Show at Leeds City Art Gallery. In 2016 he will hold a solo exhibition of his work at Kelvingrove Museum, Glasgow as part of the Glasgow International and his work will be included in a major survey exhibition at Tate St. Ives. Michael Bauer and Charlie Hammond’s print edition was produced for their exhibition ‘Euro Savage’ (2010) at Linn Lühn. Their artistic collaboration emerged as a result of the curatorial work on the exhibition. Hammond and Bauer created the series of four silkscreen prints (‘Euro 1 – 4’) together in Glasgow. Here, elements of both artists’ works, for example Hammond’s wheel forms and Bauer’s facial fragments, enter entirely new relationships. Michael Bauer (b. 1973) lives and works in New York. He has recently held exhibitions of his work at Alison Jacques Gallery, London (2015) and Lisa Cooley Gallery, New York (2014). He has also had solo exhibitions at Villa Merkel, Esslingen am Neckar (2011), Marquis Dance Hall, Istanbul (2010), Kunsthaus Baselland, Basel (2009) and Kunstverein Bonn (2007). Charlie Hammond (b.1979) lives and works in Glasgow. He has recently held solo exhibitions of his work at Lisa Cooley, New York (2014) and Galerie Kamm, Berlin (2012). His work was also included in ‘Generation’, a major survey of art produced in Scotland at Tramway, Glasgow (2014). Will Benedict and Henning Bohl are both well known for their individual practices as well as for collaborations with their peers. ‘Bloat’, 2014, was produced in Paris at the Fondation Lafayette and combines found material sourced by both artists. Bohl makes use of archetypal imagery taken from websites and fanzine publications related to Gothic, fantasy and role- playing games from the 1970s and 1990s. Benedict’s imagery includes posters and invitations he created for a bar he established in Vienna and exhibitions of his work at Galerie Balice Hertling, Paris and the University of Illinois, Chicago. Benedict (b. 1978) lives and works in Paris. He recently held solo exhibitions of his work at Overduin & Co, Los Angeles, Bortalami Gallery, New York and at Bergen Kunsthall, Bergen (2015). Other recent exhibitions were held at Galerie Balice Hertling, Paris and Dépendance, Brussels (2014); Halle für Kunst, Lüneburg and Galerie Meyer Kainer, Vienna (2013) and Neue Alte Brücke, Frankfurt/Main and Gió Marconi, Milan (2012). Bohl (b.1975) lives and works in Hamburg. He recently held an exhibition with Sergei Tcherepnin at the Blaffer Art Museum, University of Houston (2015). Other recent solo exhibitions of his work were held at Galerie Karin Guenther, Hamburg (2015), Rob Tufnell, London (2014) Kunsthalle Nürnberg and Berlinische Galerie (2013) Pro Choice, Vienna (2012) and Kunstverein in Hamburg (2011). His work was included in the Carnegie International, Pittsburgh (2013) Where is here? # 2: Space and present 20 September to 22 November 2015 Eva Berendes Alexandra Bircken Henning Bohl Madeleine Boschan Paula Doepfner Thomas Helbig Thomas Kiesewetter Karsten Konrad Manfred Pernice Katinka Pilscheur Anahita Razmi Gitte Schäfer Scheibitz Katja Strunz Mirjam Thomann Mirko Tschauner Opening of the exhibition: Sunday, 20 September at 11 am We invite you and your friends are cordially! In autumn 2014, we have the Kunstverein Reutlingen with the programmatic question of the presence - repositioned to answer in the coming years if we painting, sculpture, sculpture or installation in the digital 21st century - "Where is here?" allow access to the world or even provide explanations of the world. The program was started with an extensive group exhibition of painting in autumn 2014, this year it continues with an exhibition on "space and present." "Where is here? # 2 "is intended to give a diverse overview of recent artistic developments and trends in the spatial arts and at the same time to make a first critical selection of outstanding positions, works and personalities to 2000th. It is to be an exhibition that is intended by the limits ago from where a work is still just sculpture or even just. This exhibit is created confrontational and extremely contradictory starting points, styles and attitudes openly against each other - and yet another - leads. Because if you played well can be found only in person the answer to the question of the presence - presence as one's own existence between past and future - it is precisely this which the challenge for artists, artist, viewer and us institutions of media- tion consists. Just as the French philosopher Louis Althusser in 1977 in "Machiavelli's solitude" asked: How is it to think the new in the total absence of its conditions succeed? Early Awnings: Henning Bohl with Sergei Tcherepnin Early Awnings is a collaboration between German artist Henning Bohl and American artist Sergei Tcherepnin. Organized by Blaffer director and chief curator Claudia Schmuckli, the exhibition combines sculptures, drawings, and sound into an immer- sive installation that imbues objects and imagery with fantastic forms and symbols to serve as a multidimensional platform for storytelling. Grounded in feelings of malaise with the state of the world and invested in the creative exploration of vulnerability and fear, Bohl has created a series of fantasy illustrations entitled Kadath Fatal that draw inspiration from the imagery evoked in the literary genres of Cosmic Horror and Fantasy of Manners and the visual language of related graphic novels. The series bor- rows its title from American author H. P. Lovecraft’s novella The Dream Quest of Unknown Kadath (1926/27)—Kadath being a mythical peak where gods dwell “in the cold waste where no man treads.” However, unlike Lovecraft (1890-1937), whose il- lustrated novels locate fear in an inconceivable “other” descending to earth from outer space, Bohl brings those horrors closer to home. Turning cheese, cakes, ribbons and cornets—traditionally given to every German child on her first day of school— into monstrous presences, he conjures the subtle forms of terror and estrangment that await us in the everyday. As striking for their overwhelmingly yellow palette as for their fantastical imagery, Bohl’s drawings invoke the signature style of British author and illustrator Aubrey Beardsely (1872-1898), who, along with American writer Henry Harland (1861-1905) co- edited The Yellow Book (1894-97), a leading British arts and literary periodical associated with Aestheticism and Decadence that helped define the last decade of the 19th century as “The Yellow Nineties.” Complementing the drawings is a series of fabricated metal awnings installed along the perimeter of the gallery. They serve as both framing devices for the drawings as well as projection devices for the sound installation developed with Tcherepnin. Bohl considers awnings to be strange objects when contemplated on their own. Often beautiful but aesthetically alien to the facades they are attached to, they have no true architectural function other than marking and easing the transition from one domain into another. Transposed into a gallery setting, the awnings become symbolic markers of transition and literally set the stage for a play that brings the real (the physical installation in the gallery) and the imaginary (the realm evoked through drawings, text, and audio) into conversation. A large sculpture of a withered bouquet of elongated, hornlike forms—resembling the empty, levitating cornucopia seen in many of the drawings—occupies the center of the room, complete with table and a bottomless watering pot. Set against the background of a moss green carpet, its “blooms” offer floral interpretations of the alphorn, a distinctive wooden horn instru- ment found in Europe’s alpine regions, while its built-in speakers project sound into the gallery. Just as the drawings’ conical shapes formally recall the flower horns, the awnings literally echo the sounds coming from the sculpture, creating a musical dialogue in which the bouquet and the awnings are both actors and musicians. Written and re- corded by Bohl and Tcherepnin, the sounds conflate gothic, baroque and folk elements edited into the repetitive pattern typical of soundtracks for video games. In a sonic play of call and response, the awnings intermittently come alive with a different sound, forming and asserting their

Load more