|Galerie Ernst Hilger at PULSE New York 2008|
||Galerie Ernst Hilger at|
PULSE New York Booth B-3
Third Edition of PULSE New York to be held at Pier 40
Thursday, March 27 Sunday, March 30
Tel: 43-1-512 53 15
Fax: 43-1-513 91 26
Thursday March 27 12 - 8pm
Friday March 28 12 - 8pm
Saturday March 29 12 - 8pm
Sunday March 30 12 - 5pm
In our perception there are 3 dimensions, which we ascribe to a physical space. They play a fundamental role in our comprehension of the world around us. We actually do not perceive them but they form the frame, the a priori background in which we perceive events and the perspective from which we observe. They form a set of axes relative to which we can measure our position and position and motion of all points in a surrounding, as well as their orientation. We (automatically, unconsciously?) project usually the orthogonal grid on our surroundings which then creates our frame of reference that largely defines the way in which we can investigate it. There are different methods with different parameters for 2-dimensional renderings of a 3-dimensional space that can be used to explore it conceptually. Ivana Franke
Considering the flood of images inundating us every day, at the start of each of our works we face the question of the specific options that differentiate the painted picture from other pictorial media. This leads on the hand to an intensive preoccupation with the history of art and forces us on the other to reject current photo-realism (which doesn't belittle the fact that the photograph has an important role to play in the complex gestation of our works). Convinced that the development of painting may not be allowed to lag behind its own history, we are looking for a pictorial idiom in which, for example, the dynamics of baroque, the filmic quality of nineteenth-century historical painting converge with pop art and abstraction. This means our pictures are caught up in movement. If - having read Baudelaire with Foucault - modernity defines itself as attitude seeking to register what is ironic, "what there is of the 'heroic' in the present moment", our works most clearly position themselves in the very place where boundaries become blurred, spaces and figures dissolve, where different time cycles meet. The painted picture in fact asserts itself in the ephemeral and fragmentary, where its segments become ragged and the ordering rules of reality are annulled. Painting as the possibility of not showing things as they are, but also as they could be. Asgar/Gabriel
The project focuses on images of large-scale urban architecture and architectural landscape. For this part of the project the images happen to come from 3 major cities in Lebanon that where badly damaged during the "JULY 2006 WAR" But the images are not meant to only reflect the historic events that occurred during that period in Lebanon. They are constructed to be a metaphor for the way we create our own structural memory. The images themselves are often dark and mysterious, but they are not meant to be ghost-like cities or fading dreams. The images invoke a sense of wonderment, or awe, and a chance for exploration as one looks through the various layers to try and come to an understanding of how we perceives this particular space. It is, after all, a constructed space, but one that, in the end, contains just as much reality as the most straightforward photographic document, or personal memory. Brian McKee
Oliver Dorfer (b. 1963 in Linz, Austria) Oliver Dorfer presents a position within the Austrian contemporary art, which connects the motif-orientated language of pictures of the 1980th with a high sensibility for optical systems of current artistic forms of appearances. He works on the tension between universal validity of the simplest story and the complex interleave of signs of our "pic-media-society". His new works show few recurring motives, which form logos, icons and piktograms, and create his distinctive visual language. Although he works traditional with brush and acryl on plastic, he talks about his paintings as "pics" or "visuals" and refers with his picture series in comic style on narations of comics, pop und trash.
Tim White-Sobieski is showing his new video work created with the help of light emitting diodes. This technology is relatively new and not yet widely adopted in the arts. The mesmerizing view of the 60x96 inches (2.5 x 1.5 meters) glowing field resembles the content of the earlier works by the artist. The title Terminal refers to the series of Terminals (Day at the Terminal, Terminal at Night, Terminal Heart, On the Wing) and interprets it in a new light, literally and figuratively. In this work, he introduces a new approach to visual information in video production. The style of video-visual information remains the same, although the media dictates some limitations, but also opens new horizons.
John Gerrard to show a new work titled Grow / Finish Unit (Eva, Oklahoma) 2008, based on an unmanned pig production site near to Boise City, Oklahoma, USA. The work completes a sequence of pieces that includes Animated Scene (Oil Field) 2007, and Dust Storm (Dalhart, Texas) 2007. Strong references to such diverse sources as minimalist sculpture through the work of Bernd and Hilla Becher can be seen in the work however it principally functions as a chilling record of the extremes of functionality to be found at the start of the industrialised food production chain. In a symbolic moment of exchange within the work, reflecting the growth cycle of the pigs enclosed there, a single transport truck pulls to each building every 6-8 months and waits for 1 hour. Behind the sheds lies a large effluent lake which is surprisingly beautiful as it reflects the sky, an autonomous virtual wind animates the surface dust and debris in an ongoing and open way creating the principal movements in the piece. At no point are the many thousands of occupants of the eight sheds visible, as is the case in reality. As in other works the public use the frame to navigate a large arc around the central sculptures, the piece unfolds over 365 days and light conditions through dawn and dusk match that of the local site over that duration.
Further artists at PULSE New York 2008:
Isidro Blasco, John Gerrard, Brian McKee, Andreas Leikauf, Massimo Vitali; (special guests from the Institut of Contemporary Art Sofia: Mariela Guemisheva, Kiril Prashkov, curated by Iara Boubnova).
Untitled, 2007, Aluminium frame, fishing line, LED lamp, 95x10 cm
Keine Sorge, uns geht´s gut, 2007, oil on molino, 220x450 cm
Structural Memory 05, 2008, c-print, framed, ed.6, 110x140 cm
picC03, 2007, acrylic on acrylic, 100x100 cm
video installation "terminal"
2007, unique light/video work, dimensions approximately 2x3 m
Grow / Finish Unit (Eva, Oklahoma) 2008, Realtime 3D