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Layr
curated by Gaylen Gerber

Adresse
Singerstraße 27
1010 Wien

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Kurator*innen
Gaylen Gerber
Gaylen Gerber
CV

Gaylen Gerber (Amerikaner, geb. 1955) schafft ausdrucksstarke, oft enthüllende Kunstwerke und Situationen, die das Werk anderer Künstler einbeziehen, indem sie es teils in den Vordergrund stellen und teils scheinbar verdecken. Gerbers Praxis ist seit Jahrzehnten dadurch gekennzeichnet, dass er seine eigenen Werke mit denen anderer Künstler kombiniert und sie so untrennbar, aber gleichermaßen präsent macht. Indem er sein Werk als kontextuellen Hintergrund positioniert, vor dem wir andere Aktivitäten oder ein anderes Kunstwerk sehen, lenkt Gerber die Aufmerksamkeit auf die Durchlässigkeit der Unterscheidungen zwischen Objekt und Kontext und stellt die Stabilität der Wahrnehmung selbst grundlegend in Frage. Gaylen Gerber hatte unter anderem Einzelausstellungen im Arts Club of Chicago, Chicago, Illinois (2018), im Museé d'Art Moderne Grand-Duc Jean, Luxemburg (2006), und in The Renaissance Society, Chicago, Illinois (1992).

Künstler*innen
Lisa Danielle DeAbreu
Lisa Danielle DeAbreu


Jeanne Dunning
Jeanne Dunning


Pope L.
Pope L.


Steven Parrino
Steven Parrino


Hirsch Perlman
Hirsch Perlman


Puppies Puppies (Jade Guanaro Kuriki-Olivo)
Puppies Puppies (Jade Guanaro Kuriki-Olivo)


Wilhelm Schürmann
Wilhelm Schürmann


James Welling
James Welling


Rémy Zaugg
Rémy Zaugg


Heimo Zobernig
Heimo Zobernig



Support

We often think of artists as having a singular voice, internal, intentional and considered. We also recognize that artists can occupy multiple positions and draw from outside influences often intuitively, incorporating the expressions of previous generations of artists in the flow of contemporary practice. The challenge in an exhibition like this, and maybe in any exhibition, is to create a situation in which the actions of different generations of artists reveal a shared understanding of their common insight into the essential nature of the art as well as its distinguishing character. Through their work, artists often convey particular emotions that are drawn from the details of their situation, addressing the qualities of their time and place and helping to define it. This shared drive to reflect a true representation of lived experience seems continuous from generation to generation and exists in part as recognition that even when things feel incongruous there is also an unbroken sense of a common aspiration present over time. For example, in Lisa DeAbreu’s work we sense a search and longing for what is missing in a family’s and culture’s history that may never be fully reconciled but may be represented. In the same room as DeuAbreu’s Forgotten & Foreseen, 2024, Stephen Parrino’s Freudin Flop,1987, and Hirsch Perlman’s Accidence (5),1989, represent absence literally and rhetorically in ways that imply that absence is essential to the whole of our understanding, exemplifying how generations of artists often touch on like themes in different ways.

Mehr

Bilder

Wilhelm Schürmann, Martin Kippenberger, Galerie Hetzler, Köln, 1983, Vintage silver print on Baryt paper, frame59 x 31.3 cm ( 23 ¼ x 12 ⅜ inches), 79.5 x 51.5 x 3 cm (31 ¼ x 20 ¼ 1 ⅛ inches) framed
Courtesy the artist

James Welling, Untitled No. 45, 1984 (printed 1986), Gelatin silver print and frame, Framed: 42.5 x 52.5 x 3 cm (16 ¾ x 20 5/8 x 1 ¼ inches)

Courtesy Private Collection. Photo: Tom Van Eynde

Jeanne Dunning, On a Platter, 1999, Cibachrome mounted to Plexiglas, frame 129.5 x 81.9 cm (51 x 32 ¼ inches)

Courtesy Private Collection. Photo: Tom Van Eynde

Pope.L, “Tar Babies”, 2005 Mixed media (twice dipped bunny, item from The Black Factory), Dimensions vary with installation, Approximately 25.4 x 12.7 x 8.2 cm (10 x 5 x 3 ¼ inches)

Courtesy Private Collection. Photo: Tom Van Eynde

Puppies Puppies (Jade Guanaro Kuriki-Olivo), Performance: Despicable Me, Green exhibition, 2015, What Pipeline, Detroit, MIMinion costume, performance, open edition (exhibition artifact), Dimensions vary with installation
Courtesy the artist and What Pipeline, Detroit. Photo: Alivia Zivich

Rémy Zaugg, UND WÜRDE MIR, SOBALD ICH DENKE, DIE WELT ENTFREMDET., 1997, Lacquer and silkscreen on aluminum, 223 x 199 x 3 cm (87 ¾ x 78 ⅜ x 1 ⅛ inches)

Courtesy: Mai 36 Galerie, Zurich