Submission
Group Show

Aube Naissante

A show curated by Amanda Weimer, hosted by die grotte space, with works by: Adrian Lopes Pena Flora Lenzmann Jaqueline Beifuss Manutcher Milani Magnus Hvidtfeldt Tom Funk


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Adrian Lopes Peña Mirroring form, 2021
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Manutcher Milani Stardust, 2021
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Manutcher Milani Stardust, 2021
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Magnus Hvidtfeldt Screening of songs to come, 2020
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Adrian Lopes Peña Painting of a circle 2020
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Adrian Lopes Peña untitled, 2021
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Manutcher Milani Stardust, 2021
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Flora Madou Lenzmann Caress, 2021
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Flora Madou Lenzmann Caress, 2021
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Flora Madou Lenzmann Caress, 2021
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Adrian Lopes Peña 2 napkin studies, 2021
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Jaqueline Beifuß save a smell for me, 2021
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Jaqueline Beifuß save a smell for me, 2021
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Jaqueline Beifuß save a smell for me, 2021
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Adrian Lopes Peña
Tom Funk Guérison, 2021 Filmstill
Tom Funk Guérison, 2021 Filmstill
Tom Funk Guérison, 2021 Filmstill

aube naissante

A show curated by Amanda Weimer, hosted by die grotte space

With works by:

Jaqueline Beifuß save a smell for me, 2021
The biomorphic surface with its branched pattern is reminiscent of roots or veins. Made of soap, it has the texture and appearance of shriveled skin and like the organic material it mimics, the object is in a state of slow aging and decay. Much like a living organ, the sculpture is drained of fluid over a period of four to six weeks. When combined with the circumstance of weathering it is still unclear how the dehydration process will unfold. In addition, the aspect of olfactory perception does not go unnoticed, since the work deals at its core with scents and their various associations bundled to the addressee.

Manutcher Milani Stardust, 2021
In his recent body of work, Manutcher Milani tackles inherent forms, symbols, and gestures. Using various techniques such as airbrush, painting and tufting the artist reflects on his mood in a spontaneous and calculated manner where there is no intention of depicting existing forms or subjects, instead he focuses on creating visual sensations.

Magnus Hvidtfeldt Screening of songs to come, 2020 Collage on canvas

Adrian Lopes Peña Painting of a circle 2020, 3 escapes 2021, Untitled. 2021 Mirroring form, 2021

Hi! You mean regarding ideas? I thought of maybe a small sound performance about making honey like a bee with a flute i made that could be connected to the space and stay. Also maybe some sculptural interventions… I made a few circular sculptures like necklaces or hulah hoops on the floor that serve as frames for a circular part on the ground, in the garden they would serve as focus points for perception or whtvr. also, i have been thinking about potentially framing some pictures i took of details of the process of some paintings, speaking of reproduction, both finding a way of turning the archiving or documentation action a creative one and while also detouring and expanding the final material form of the painting and potentializing it as an image or icon to be used and contextualised in new and diverse ways. This could be nice, i would like to frame some very well so they would contrast the garden space, and create some kind of feeling of displacement maybe…

Flora Madou Lenzmann Caress, 2021
„How I wish I could forget those happy yesteryears
They have left a rosary of tears
Your face beams In my dreams
‘Spite of all I do Everything seems to bring memories of you“ Robert Wyatt ,1982

Tom Funk Guérison, 2021 (Snippet)

The short film is part of the protagonists personal process with the confrontation of existential and identity questions. The poem by Fernando Pessoa combined with the performance by Paula Luna and the visual impressions create a mystical and hypnotic world.

“[…] and I only find myself when I flee from myself.”

Sound: Croatian Amor – LA Hills Burn At The Peak Of Winter

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Due to the loss of a friend’s smell, i became preoccupied with the connection between emotion and smell. A particular smell can be directly linked to a memory and someone’s nostalgia can be triggered by a scent in the air that takes them back years. When one sense falls asleep, how does one cope with the loss, what sense will absorbs the loss and what coping mechanism allows one to re-feel the emotions from now on? The human being can only remember what the mind or intelligence has classified and ordered, that is, what they have already classified into a system of memories. Only what has been marked as a memory can be consciously retrieved. If a conscious memory then occurs, however, it can never receive/be given a full truth value because the reception of the environment at the time of the experience is naturally filtered by the brain, which concentrates only on what seems important at the moment. The special significance of the senses of smell and taste, which – together with the sense of touch – are not as heavily used and consumed as the senses of hearing and sight, also has another dimension: they also contain an erotic note and are an essencial component of the social behavior of humans. They are strong memory carriers, partly because they are senses of intimacy between people.
I could’t help but wonder, when we will accept the transcendence of olfactory mechanism and let it transcende in to linguistic habitus and syntax?

A great group exhibition asks its audience to make connections. Like an orgy, it brings things together in stimulating and unpredictable combinations. It immerses us in an experience of shifting yet interliked viewpoints, and multible climaxes. Its juxtaposes works whose overlapping concerns resonate in ways that transform our experience of them. And it invites us to explore a seemingly newly discover territorry of art that contains within it more that we can hold in our heads in any one moment.

You talking to me? : on curating group shows that give you a chance to join the group / by Ralph Rugoff