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Group show: ROOMING IN! (over)

27 December 2008 until 28 January 2009
  ROOMING IN!
Anselm Reyle, Untitled, 2008, Bronze, Chrome Enamel Varnish, Patina, Veneered Plinth (Makassa Wood), 60 x 45 x 40 cm
 
  Patricia Low Contemporary

PATRICIA LOW CONTEMPORARY
Parkstrasse
3780 Gstaad
Switzerland (city map)

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ROOMING IN!

Patricia Low Contemporary
is pleased to host Andersens Wohnung for a collaborative exhibition titled ROOMING IN!

27.12.2008 - 28.01.2009

Showcasing works by twelve international artists - Jesper Dalgaard, FOS (Thomas Poulsen) Thilo Heinzmann, Andreas Hofer, John KÝrner, Tal R, Anselm Reyle, Kirstine Roepstorff, Tomas Saraceno, Katja Strunz, Evren Tekinoktay, and Thomas Zipp -- this group exhibition offers a provocative and diverse exploration of utopian themes through works which innovatively engage with formalism and narrative.

Jesper Dalgaard's sculptures and installations pose fantastical suggestive narratives through their playful aesthetics. Using the codes of formalism as a departure point into science fiction, his works elaborate on their devices of making to draw parallels between objects, meaning, and the artist's role as cultural producer.

Describing his work as "social design", FOS/Thomas Poulsen's practice bridges art, design, and architecture to recontextualise and critique public space. His works are humorous and provocative investigations into the relationships between information, form, and expectation, subverting the codes by which cultural transaction is experienced and understood.

Thilo Heinzmann's minimal compositions are flamboyantly punctilious. Made from media as diverse as glass, rock crystal, cairngorm, and aluminium, his paintings exude polished luxury, setting aesthetic connoisseurship as a fetishisation of material substance and visual rectitude.

Influenced by comic books, silver screen era films, and science fiction, Andreas Hofer draws from the symbols of power embedded within popular culture to contrive alternative mythologies that entwine fact and fiction in works that are equally heroic and bereft.

John KÝrner's paintings articulate sub-language narratives. Combining recognisable motifs with lusciously abstract gestures, his works evolve as evocative surrealist tableaux, where images are construed as 'problems' to be indulged, relished, and satisfied through the illusive physicality of their construction.

Guided by obsessive self-imposed rules such as restrictive palette, compositional format, and recurring motifs, Tal R develops a deceptively rigorous painterly language; his immediately recognisable faux-naif style makes formalism look effortless. Taking his subjects from everyday life, Tal R converts the banal to the utterly extraordinary, infusing his work with a sense of magic and optimism.

Repackaging the artistic styles and ideologies of the 20th century along with their retro-cool factor Anselm Reyle's sculptures and paintings shamelessly operate like a rebranding of modernism, wilfully confusing authenticity and mass production, primitivism and high technology, originality and reinvention in an accelerated response to the ever increasing demands of commodity culture.

Kirstine Roepstorff's collages and sculptures wittily embrace the tropes of the avant garde as the epitome of cultural hierarchy. Using DIY materials, her luxuriously fabricated works ironically challenge issues of consumption and desire through her carefully constructed meta-narratives of artist's philosophy and genius.

Tomas Saraceno's floating cluster-like sculptures envision an airborne urban future where cities might literally be built in the sky. Informed by issues of ecology, migration, and conservation, as well as theories of sociology and physics, his works form a utopian proposal for ethical and sustainable global development.

The sleek simple elegance of Katja Strunz's sculptures and wall reliefs belies a highly complex and sophisticated approach to formalism and objecthood. Her works compose sensitive relations between their individual elements and the surrounding space, using evocative groupings and exaggerated angles to suggest a sense of both visual and historical continuity.

Evren Tekinoktay's collages fabricate her own future-feminist mythologies from media clippings and personal photos. Her psychedelic configurations are simultaneously brazen and introspective, weaving intricate narratives through an idiosyncratic symbolism that draws from 70s nostalgia and the artist's Turkish heritage.

Working across a wide range of media, Thomas Zipp's work engages with an extravagant networking of ideas - ranging from history, science fiction, psychology, and subculture - creating complex fictional intersections between aesthetics, ideology, and ritual.

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