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ALL OVER: Simona Pries –€“ Jost Wischnewski

 

Opening: 7th March 2008, 6:00 - 8:00 pm

Exhibition: 8th March - 31st May 2008

 

In the exhibition All Over USCHI KOLB Gallery shows sculptures by Simona Pries and an installation by Jost Wischnewski

 

–€œAll over–€ was a term used by art criticism in the 1950s to describe a type of a painting without a central motif covering the whole surface of the canvas, and which, at least in the imagination of the painter or the viewer, could extend beyond the limits of the canvas. Transferred to an exhibition, this definition suggests a situation that projects beyond the given confines of the space –€“ again this is only possible in our imagination. However, when one experiences Jost Wischnewski–€™s wall painting in the exhibition space, and physically feels the effect that it has on the body so that the real architecture is soon forgotten, then one has already understood the dynamic of the –€œall over–€.

Wischnewski–€™s subject matter is taken from the signs of urban space, the markings on the streets and squares of all large European cities. Transformed by the –€˜futuristic–€™ gaze of speed, the hieroglyphs of the urban infrastructure are transferred directly to the wall with stencils. Through a similarly conceived typography, dismantled windscreens that have been removed from their original position in different makes of car are transformed into industrially formed, plastic images. The text elements, which can only be read with difficulty turn into monumental graphic catch phrases like incantations whose original function of ordering urban life with stage directions has fallen victim to a central perspective that replaces the static vanishing point familiar from Renaissance painting with the shortened vanishing point of a motorcyclist–€™s field of vision.

The exhibition –€œALL OVER–€ presents two artists who both work sculpturally, and who both deal with daily urban experience, although from different starting points. The basis of Simona Pries–€™ work is architecture, and her materials are taken from the architectural context: cut, sandblasted, painted and partially glued glass; brick or concrete that is broken, drilled, or left as raw industrial material and piled up. In her objects, materials with their contrary qualities encounter each other, at times aggressively. This results in a tension, which through quantity, processing, and arranging is carried over into a canon of measurement.

Profane materials from the hardware store become a source of beauty and meaning. The sculptural constellations are loaded with meaning through poetic titles such as –€œI never promised you a kiss–€, –€œWunschbrunnen–€ (–€œWishing well–€), –€œDie Aprikosenbäume denken nach–€ (–€œThe apricot trees think it over–€) or –€œLuftschlösser–€ (–€œCastles in the air–€). Particularly in the case of –€œCastles in the air–€ –€“ the term conjures up rich associations for everybody who hears it –€“ the title is also linked to a precise description, since these are small open rooms made from upright concrete elements with their floor and roof made from a coloured sheet of glass. These airy castles stand on pedestals of varying height, so that the adult viewer can look in –€“ or not, when the height reaches a total of 210 cm. These slender structures are dispersed throughout the gallery and, like the late medieval towers of San Gimignano in Tuscany, create an atmospheric constellation among themselves. The small group shown in the exhibition could extend indefinitely –€“ which again draws on the notion of the –€œall over–€.

 

Georg Elben