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ブロークンハートな展示。 読解できなくとも何となくわかる。

Astrid Klein

Astrid Klein

Astrid Klein


 なんか堅めの作品と思います。 初めは一番上の写真のハンマーで砕かれた脚のある鏡の物体がカッコイイなぁ~と思って見ていのですが、展示全体を見るともっと複雑なことを言わんとしてるようです。

 3枚目の写真を見ますと、本か何かしらの書類の文章の一部を、または大部分を黒く塗りつぶしています。文章の断片、、で何かを表そうとしているように思えます。

 そしてギャラリーに横たわった直方体の鏡。打ち砕かれひび割れています。鏡越しに観るとギャラリーの空間は小さな断片に切れ離されて見えてきますよね。 きっとこの鏡と、先程の黒く塗りつぶされた文章は、お互いが共鳴し合って一つの”何か”を言わんとしているのではないでしょうか。。

 ちなみに展覧会タイトルは『Broken Heart』です。考えるのではなく感じるタイプの展示ではないでしょうか。


以下 Contemporary Art Daily よりクリッピング↓↓


Astrid Klein at Sprueth Magers

September 15th, 2010 in Exhibitions



Artist: Astrid Klein

Venue: Sprueth Magers, Berlin

Exhibition Title: Broken Heart, Arbeiten von 1980 – 1995

Date: September 3 – October 23, 2010

Click here to view slideshow


Astrid Klein



Press Release:

Monika Sprüth and Philomene Magers are delighted to present the first exhibition by Astrid Klein in their Berlin gallery. The title of the exhibition Broken Heart, Works 1980-1995 references a body of work from the year 1980. A selection of works from this series, two sculptures (1990/1995) and works from the series weiβe Bilder (white paintings), achieved between 1988 and 1993, will be exhibited.

The painter and sculptor Astrid Klein has been working at integrating text into her paintings for over three decades. In 1972, before she had even started her degree in Cologne (1973-77), she began to write several texts which she later printed onto hand-made paper. The topics of her own texts, as well as her later use of other textual sources, bear witness to her thoughts on literary, aesthetic, philosophical and scientific writings. In a fragmented and concealed way these various sources are incorporated into her Schriftbilder (text paintings) which make up the large majority of the exhibited works in Berlin.

The large format works of the 1980 series Broken Heart use excerpts of text from Arno Schmidt’s seminal work Zettels Traum (1970) in relation to the representation of women in cinema and photonovels from the 60s and 70s. The latter were affected by a voyeuristic, masculine perspective along with this the fetishisation of the female form. In the collages, Astrid Klein links textual and pictorial material on a visual level that not necessarily share the same semantic level. This creates a context, in which new meanings are revealed.

The sculptures BROKEN HEART I and BROKEN HEART II (1990/5) contain mirrors that have either been shot at or have been smashed with a hammer. The cracks mean that the reflections of the surroundings can only be viewed as fragmentary or deformed.

With the weiβe Bilder (1989-1993), which can be seen as the counterpart to the series schwarze Bilder (black paintings) of the 70s, Astrid Klein approaches the limits of visibility. To make the invisible visible and to show what can’t be shown is hinted at in the paradoxical phrase Erinnerungen eines Gedächtnislosen (memoirs of a person who does not remember) featured in one if the works on display. The memories fade in the gradual repetitions of two lines of text, as this is how the almost unrecognisable text line at the bottom left hand corner can be interpreted – nicht bis ins Herz getrieben (they do not penetrate the heart).

Astrid Klein’s paintings, collages, works of photography and installations created since 1978 question, deconstruct and renew the relationship between image and text. Since the beginning of the 90s, she continued these intense discussions also in her large format neon sculptures and light installations. The form and the typeface of the text play as important a role in the works as the content. The overlay, blurring and accentuation can be read as the archeological layers of our thinking and our perception, of memory and oblivion, of what we suppress and what is subconscious.

Link: Astrid Klein at Sprueth Magers



Astrid Klein at Sprueth Magers - [found at Contemporary Art Daily / a butterfly's dream]

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上記広告は1ヶ月以上更新のないブログに表示されています。新しい記事を書くことで広告を消せます。