BRAND NEW BRIGHT BLUE
Im Satellit Berlin im Aufbauhaus zeigen sechs Künstlerinnen und Künstler aus Frankfurt Arbeiten, die sich mit Formen der Repräsentation und Dokumentation von Kunst sowie Fragen nach Funktion und Einsatz von Ausstellungsarchitektur und Vermittlungselementen auseinandersetzen.
On view September 18th unitl October 11th
Opening hours: Thursday – Saturday 2pm until 7pm.
or by appointment
`Brand New Bright Blue` examines the common interest of various artists how
art- and exhibition-architecture are being reflected within the arts itself. Whats
the role of representation in general, how can artists react to the fact that a
great part of their work is more and more mirrored in the representation or
reproduction of itself? Is it important that the work itself, by reproducing it,
somehow is experienced at all and gathers a new form of audience absent
from an actual event?
Five artistic positions try to monitor current state of representation that accepts
the reproduction of the artwork itself as immediate part of it, creating an
unfinished setting of propositions.
Calori & Maillard collaboration combines backgrounds in design and film into a practice where the real and the surreal merges,
often with the infiltration of the absurd into a real situation.They have recently created and realized the performance
L ́ Oiseau de feu, a ballet for tower cranes. The performance is inspired by Michel Fokine’s ballet L’Oiseau de feu.
Considering construction sites as open air stage and the related tower cranes as dancers, they choreographed a ballet
in Frankfurt financial center. The cranes function as dancers and the construction site as stage.
The documentation enact a direct line between the creation of the buildings and their actual presence.
Philipp Grünewald is mainly working with construction materials along with products of everyday life. Blending them into an idea
which is open to associations and references of things thought to be well known. His recent work fair-trade
deals with the idea of a mass produced product which may be visually clearly describing its intended use,
however on various other levels references and associations to more ideas and broader concepts are
expressed letting the finished product oscillate in an in-between of capabilities.
In her paintings Sarah Schoderer deals with questions of forms of presentation of art within the arts.
She reflects about how ways of showing tend to form and dominate the perception of the content aswell
as the value of art. Similar like classical still life tradition, by placing objects in dissolved rooms she reflects about meaning
and time of the objects, aswell as about questions of painting: Light and space. Or content related questions regarding the value.
Ilka Schön operates with structures and processes of setting-up art spaces. Her work WHEN FORM BECOMES ATTITUDE
deals with functions and positions which are needed to realise exhibitions in art spaces in general. The reenactment of specific
arrangements found in parallel shown exhibitions is used as a transferable system for presenting variable artworks in variable spaces.
Sarah Schweizers work SKIP TO STICKY STUFF deals with forms of repetition, the principle of similarity as well as the
potential of documentation and reproduction of art. SKIP TO STICKY STUFF shows photographed paintings, partly painted
over again, which, installed as displays, show themselves and at the same time act as a presentation surface for other images.
Fotos: Stefan Stark