Charim Galerie curated by Julie Boukobza
„Reprise“
www.charimgalerie.at
Curator(s):
Artist(s):
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Judith Eisler More
1962, USA. Lives and works between Warren, CT and Vienna.
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Noémie Degen/Simon Jaton More
1996, France & 1994, Switzerland. Live and work between Paris, Geneva and Lausanne.
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Ceal Floyer More
Ceal Floyer was born 1968 in Karachi, Pakistan and lives and works in London and Berlin. Since 1995 she had numerous solo and group exhibitions in institutions like the Museum of Modern Art, New York, van Abbemuseum, Amsterdam, Schirn, Frankfurt or the Kabinett für aktuelle Kunst in Bremerhaven. She took part in the Tate Triennal 2003, London, Istanbul Biennale, the 50th Biennale in Venice and other. Floyers works are also represented in the collection of the Sammlung zeitgenössischer Kunst der BRD, and in 2007 she was awarded with the Preis der Nationalgalerie für Junge Kunst.
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Deborah-Joyce Holman More
1991, Switzerland. Lives and works between London and Basel.
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Alexandra Noel More
1989, USA. Lives and works in Los Angeles.
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Asha Schechter More
1978, USA. Lives and works in New York.
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Nanténé Traoré More
1993, France. Lives and works in Brussels.
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Joseph Zehrer More
1954, Germany. Lives and works in Cologne.
Exhibition text
More
Reprise is a word that exists in both English and French—a return, a repeating gesture, a fragment echoing the whole, especially in music.
In French, reprise suggests picking something back up where it was left, carrying with it a sense of interruption, of something paused and resumed.
This exhibition leans toward the English resonance of the word, exploring how repetition—of a phrase, a soundtrack, a train ride, a good or bad habit—can carry meaning, memory, and transformation.
Ceal Floyer’s 2002 sound piece reverberates alongside Bach’s Goldberg Variations, composed in 1741, interpreted by Glenn Gould in 1956, and later hauntingly fictionalized in Thomas Bernhard’s 1983 novel “The Loser”.
The notion that cinema allows us to come to terms with life’s repetitions runs through the works of Deborah-Joyce Holman, Judith Eisler, Asha Schechter, Nanténé Traoré, Joseph Zehrer, Noémie Degen, and Simon Jaton.
Even Alexandra Noel reflects on repetition in her paintings: “I don’t often paint people, but I’m thinking about them while I’m painting, so maybe they’re infused in them somehow. It’s like watching a film made up of the same frame repeated again and again. I’m waiting for the actor to appear or for something to move. There’s a light behind it, and I can hear the film physically moving, but the screen is static.”
Repetition dreams of repair and healing—like the utterance of a word in psychoanalysis, but also through contemplation, through routine, through motion, through change.
Judith Eisler recalls Kierkegaard’s paradox: “The irony of repetition lies in the fact that it is inherently unrepeatable. The very act of trying to repeat something transforms it, making it a new experience. This highlights the difficulty of capturing the essence of a past moment.”
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