Actualités

 
GEOMETRICS
 
Gallery Andreas Binder
 
 
 
Groupshow
with Gerhard Richter, Imi Knoebel, Günther Förg, Blinky Palermo, Donald Judd, Fred Sandback, Frank Stella, Gerhard Merz, Anton Hiller, Julio Rondo, Paul Winstanley, Jan Davidoff, Hadrien Dussoix, Stefan Hunstein and Alex Hernández & Ariamna Contino
 
OPENING: Thursday, February 09, 2017 | 7 pm
Exhibition: February 10 - April 01, 2017

 

PRESSRELEASE
In the exhibition Geometrics Galerie Andreas Binder presents a wide range of modern and contemporary positions of art, which, in various ways, concern themselves with geometric forms and objects.
The majority of works can be referred to as abstract, non-representational, concrete or constructivist art. Although a clear differentiation from figurative, mimetic art is not equally distinctive for all the works. Nonetheless, all of the sculptures, works on paper and paintings share the geometric form and its crux of clarity, proportion, unity and neutrality as their central benchmark. The basic geometric element of the line as well as the simplest geometric shape – the cube – are, in their elementary and archaic simplicity, able to refer only to their representation, thereby denying any form of imagery. At the same time they are also conveying a nonrepresentational imagery, which defies the terminology of language and is only perceptible by the senses.
The beginning of artistic abstraction is marked by Cubism and by the search for the original form of archaic composition. In the middle of the 20th century also Anton Hiller breaks with the traditional portrayal of figures by constructively assembling stereometric bodies in certain constellations. He thus admittedly reduces and simplifies the human shape, yet not completely deconstructing it to a geometric formula. Unlike that, the contemporary copper sculptures by Jan Davidoff are reduced to a sole geometric form language, examining the symmetry of the space and breaking up the boundaries between architecture and sculpture as well as between artwork and surroundings.
The exhibition‘s only painter of representational art, Paul Winstanely, contributes with his Art School-Series, which centers around the empty classroom of an art academy. It is transformed into a perfectly geometric and minimalist image space, which in its effect is not in any way related to real space. The abstraction of geometric forms of real space can also be found in the photographs of Stefan Hunstein. And also Ariamna Contino & Alex Hernandez capture geometric forms of everyday life. They transform statistical material into aesthetic, twodimensional works of art, that way not only addressing the fundamental relation between the visual arts and its social function, but also the ambiguity between ethics and aesthetics.
In Julio Rondo‘s reverse glass paintings the clearly visible references to the material object and its abstraction and aestheticization gradually disappear. By depicting his memories in geometric patterns, he creates his very own reality – one that is no longer rationally comprehensible. Similar to Hadrien Dussoix‘ paintings, form and line begin to oscillate.
In opposition to that, the line-paintings by the representatives of Minimal Art such as Donald Judd and Fred Sandback, but also Gerhard Merz and Gerhard Richter, replace the composition of geometric objects as expression of the non-verbalizable with a genuine arithmetic construction as the epitome of nonrepresentational painting. The works as factual given are merely able to depict themlselves, whereby space and observer, colour and form become their most crucial components.
Immune to any accusation of ornament they become the projection of the observer‘s emotions within the space of an intangible void. Particularly the colour-field paintings of Blinky Palermo, Günther Förg and Frank Stella, the bulky objects of Imi Knoebel or Turi Simeti‘s monochrome reliefs on canvas – with their characteristics of autonomy, reduction and incoherence – they allow the sensual cognition of form and colour and consequently enable any form of subjective perception.
 
 
 
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