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November 21, 2003 - December 19, 2003
David Schnell is a young artist who lives and works in Leipzig, Germany. While his painting is well-connected to traditional German landscape painting, Schnell paints the natural environment as a socio-cultural space, permeated by modern civilization. Schnell’s painting evokes melancholy and nostalgia within a tightly defined perspective as a way to establish a new idea of nature. Built upon a rigid grid system, the paintings are at once austere, romantic and hypnotic, exaggerated by a single vanishing point and heightened sense of spatial volume.
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October 18, 2003 - November 15, 2003
Cunningham pulls her aesthetics from a utilitarian vocabulary. She creates objects that not only invite and shelter the eye and mind from the perils of reality, but also speak of the nomadic impulse alive in all of us. Her sculptures appeal to our wanderlust, and aid our momentary escape to safe harbors. Regarding her work, Cunningham says:
In the time between the looking and the recognizing, reality breaks down. The insecurity of this place feels like walking along the precipice of a very high cliff. It is completely humbling. I try to stay here as long as I can stand, before I bounce into a concrete thought or emotional recognition.
Krysten Cunningham makes sculpture that allows the time and provides the space to think, establishing a sense of place for the eye to travel and the mind to rest—where it can hover between what one can understand and the mystery that precedes this understanding.
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September 6, 2003 - October 11, 2003
This new work is a continuation of the artist’s exploration of the impact that technology, media, and corporate and industrial industries have on our culture. Using images such as airplanes, subways, federal facilities, and waste sites, the artist is interested in the simultaneity of beauty and danger, comfort and unease, and chaos and calm. Much of this imagery is inspired by or derived from the internet or other media sources, and in many instances, Alfred then manipulates these images with the computer before transforming them into collages and paintings. In a recent body of work, Alfred has begun to investigate the further potential of the computer by animating digital versions of his paintings and accompanying them with sound.
In conjunction with the exhibition, a new CD-ROM catalogue will feature a second installment of a project in which Alfred collaborates with electronic musicians who create songs in response to his work. The musicians on the new compilation include Schneider TM, SND, Nudge, Greg Davis, and others who, like Alfred, incorporate digital technology as an integral part of their creative process. The catalog also features essays on Alfred’s work by Sarah Rich and Martha Schwendener.
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May 17, 2003 - June 21, 2003
For this new series of photograph’s titled ‘Tilt’, domestic interiors have been skewed to suit personalized ideals of pleasure and the pursuit of simulated experience. In these photographs Mesa-Pelly is interested in how popular culture and mass media have altered our experiences of reality, of our personal spaces and ourselves. Using the detritus of pop culture to reconstruct places of amusement, the artist creates a composite that blurs the boundaries between fact and fiction. Within this new ideal home, rooms and corners become entertainment stations, mountain’s are miniaturized and made user-friendly, recesses seemingly come to life while figures are frozen in states of contemplation.
The title of the show is in part derived from a turn of the century amusement park attraction named ‘Titlhouse’. This attraction resembled a normal house on the outside and delighted audiences for its ability to disorient the unknowing participants inside. It is a precursor to today’s funhouses.
The convergence of reality and fiction within Mesa-Pelly’s work has always been a way to allow for multiple interpretations of the situations and characters depicted. In these spaces the artist is able to probe the real world which then becomes a symptom of another space, a fantasy space.
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April 11, 2003 - May 10, 2003
The Leipzig based painter Tom Fabritius takes the motifs of his large and small scale watercolors on canvas and paper from the inexhaustible image pool of television. The moving pictures are frozen photographically, then brought back to life using watercolor. The cuts are no longer giving movement to the images, but the colors themselves. Even appearing out of context, Fabritius‘ motifs — fighter planes and bursting volcanoes as well as portraits and landscapes — formulate an overview of the media’s presence, make the artist an expositor of his era.
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March 1, 2003 - April 5, 2003
Entitled "SAME AS ME", Campbell’s three-screen video projection tackles the issues of uniqueness and uniformity while allowing the viewer to examine the endlessly reproductive, homogenizing capacity of our consumer society, the moving image and how this hinders us as we attempt to differentiate ourselves from each other.
Featuring a trio of synchronized images of the artist as various women, "SAME AS ME" presents more than a dozen ‘protagonists’ in the same role performing everyday tasks. The videotaped record of their activities levels their different characteristics while raising the importance of their routine actions to the stature of quiet, visual poetry. A day-in-the-life of a traveler, an artist, a suburban housewife, an office worker, a well-heeled socialite and other ideal types, the storyline of "SAME AS ME" unfolds in a slew of geographically disconnected locations. A celebration of possibility as well as an exploration of sameness, Campbell’s looping 15 minute and 30 second video paradoxically embraces both individuality and a skeptical, experientially based sense of universality.
Sandroni.Rey will also exhibit drawings by Campbell. Campbell’s work on paper is well known and reflects the ideas dealt with in her video work where a single narrative event is allowed to grow and expand in various directions at once. Her drawings explore endless possibilities stemming from the same initial event. Neurotic and obsessive, these imaginative drawings put the viewer in a place of self-examination and one of questioning the decisions we have made.
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January 11, 2003 - February 15, 2003
The exhibition will feature paintings, watercolors, and works on paper by five leading young artists living and working in Germany. The focus of the show will be to look at the emergence of Leipzig and Dresden as centers for contemporary painting, alongside Berlin.
Tilo Baumgärtel will show works on paper which capture the nostalgia of the former east, while simultaneously illustrating the fervor of how quickly things have transformed. Baumgärtel implies a narrative in his pictures, almost serving as storyboards of the past and future taking place as simultaneous events. Baumgärtel lives and works in Leipzig.
Martin Eder will exhibit a suite of watercolors which juxtapose images of women inspired by pornography with images of cats and dogs. The artist is known in Germany for his large-scale installations, which reconstruct space, while very subtly incorporating these watercolors into the framework of his installations. Eder lives and works in Berlin.
Thoralf Knobloch will exhibit several new paintings. Knobloch lives and works in Dresden and is representative of a rather specific style of painting which has come from this city. Providing an almost incomplete view of a picture, the artist here provides clues to a greater whole, which the viewer is responsible for locating.
Jörg Lozek is a young painter who has just graduated from the Art Academy in Leipzig. Lozek uses children as his subject matter and combines a variety of different symbols and elements, which define these paintings as scenarios rather than portraits.
David Schnell is a painter who also lives and works in Leipzig. Of the group in this exhibit, Schnell is the most connected to the tradition of landscape painting. The artist uses melancholy, nostalgia and perspective as ways to establish a new idea of nature. Using random man-made elements one would find in the landscape, Schnell brings it one step further by combining these elements into the landscape itself, making them feel like they are part of an organic whole.
Zukunft will be the first time most of these artists have ever exhibited in the United States. We hope this exhibition will illustrate the new vernacular which is emerging in Leipzig, Dresden and Berlin
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