February 28, 2004

Sabine Hornig at Galleri Lars Bohman, Stockholm

Sabine Hornig: Balkong (Balcony)
Galleri Lars Bohman, Stockholm
28 February - 28 March, 2004

Galleri Lars Bohman presents German artist Sabine Hornig’s first exhibition at the gallery. ‘Balkong’ (Balcony) consists of a sculptural installation and a series of large-format photographs.

Sabine Hornig often combines photography with sculpture, reconstructings everyday elements of architecture. Both her sculptures and photographs explore the membrane between the interior and the exterior. She stresses the difference between the inside and the outside of a given space often using the principle of doubling to invoke slight changes in the observer’s perception. The gallery space is always integral to and part of the work. 

Sabine Hornig’s constructions are built to subtly reconfigure viewer and object relations within exhibition spaces. Although not strictly site-specific, the installation sculptures are custom-made to suit the given exhibition situation and to address the visiting public. Her installations are based on existing structures or prototypes of architecture. The sculpture ‘Balkong’ (Balcony) represents a typical balcony as it can be seen on any modernist building. It is detached from its original setting, the exterior, and transferred into the interior. The balcony is covered with stucco, which - besides the clean, impersonal architecture - adds to its stereotypical features, characterising the balcony as a standard element of urban architecture. The balcony is attached by its narrow side to the wall and juts out into the gallery, - forming a barrier across the space. One can walk alongside and around the balcony and look over it and out of the gallery’s window. 

A balcony is the private space in a home that quite literally and physically projects privacy into the public realm. It is a holiday idyll and an observation point. Republics are proclaimed from balconies. In representational architecture the balcony is the platform for those who reign and for politicians to make public appearances from.

The interaction between interior and exterior within the exhibition is intensified by a series of large-format photographs depicting windows: double or single frame windows offer views into empty or abandoned storefronts, a common enough sight in Berlin. The reflections on the glass refer to the surrounding exterior. These photographs could be read as documenting the current economic situation. However, the ephemeral aspects of the reflections transcend the specificity of the place. 

In these complex compositions, that allow an examination of space through reflective surfaces, once again different levels link. Although the window allows a view into an interior, this view is distorted by the reflection of the exterior, the opposite space that is mirrored in the glass. Thus, the gallery walls transform into a façade on which the photographic image opens a window into another space. Finally, viewers become aware of their own reflections on the photograph’s surface and they are then, too, integrated into the virtuality of the image. The familiar experience of walking past storefront windows is rendered less familiar, and viewers are left to consider their place within these real and reflected spaces.

In 2003 Sabine Hornig mounted a major installation in the Project Space of the Museum of Modern Art in New York. In this installation Hornig pushed the limits of the interplay with the layers of perception and reflection to its virtual extreme. In 1998-2000 she was a participating artist in the P.S.1 International Studio Program in New York, and in 1998 she was awarded the prestigious Karl Schmidt-Rotluff Stipendium.

Born in Baden-Würtemberg, Germany in 1964, Sabine Hornig currently lives and works in Berlin. She received her B. A. and M.F.A. from the Hochschule der Künste in Berlin. Hornig has been the subject of solo exhibitions at Galerie Barbara Thumm, Berlin (2000, 2002 and 2003), Tanya Bonakdar Gallery, New York, (2001 and 2002), and Malmö Konstmuseet, Malmö, Sweden (1996). 

GALLERI LARS BOHMAN
www.gallerilarsbohman.com

February 21, 2004

Bilan de la Foire des Antiquaires de Belgique 2004

Bilan de la Foire des Antiquaires de Belgique 2004

Le 15 février, la Foire des Antiquaires de Belgique 2004 fermait ses portes sur une édition exceptionnelle qui vit converger vers ses nouveaux quartiers quelques 29 000 visiteurs, dépassant de loin les objectifs avoués des organisateurs ! C’est en masse, en effet, qu’amateurs, collectionneurs et professionnels des Antiquités se sont rendus à cette 49ème édition qui, de l’avis unanime, fut un immense succès et renforce la dimension internationale de l’événement. Une sélection rigoureuse des exposants, un contrôle très strict effectué par de nombreux experts de même qu’une presse particulièrement élogieuse ont définitivement placé la foire dans le peloton de tête du calendrier des grandes manifestations européennes comme Maastricht ou la Biennale. 
  
‘Magnifique ! Merveilleuse ! Sublime ! Enchanteresse !’, les qualificatifs n’étaient jamais assez élogieux pour distinguer le très beau salon d’antiquités qui vient de se clôturer sur le site de Tour & Taxis. Depuis 1955, la Foire des Antiquaires de Belgique, l’une des plus anciennes au monde, organisée par la Chambre Royale des Antiquaires de Belgique, constitue un événement incontournable en matière d’antiquités. Chaque année, et 2004 a amplifié encore cet état de fait,  elle constitue pour les amateurs, l’occasion de regarder, s’informer, prendre la température du marché et faire de nouveaux contacts.

Le nouveau lieu d’accueil, les superbes et immenses halls du bâtiment A de l’ancienne gare de triage de Tour & Taxis, a été certes pour beaucoup dans le succès retentissant de cette édition. Chacun se félicitant de sa facilité d’accès, de son côté pratique comme de l’élégance de son bâti et du soin tout particulier que les décorateurs du bureau Volume (Nicolas de Liedekerke et Daniel Culot) ont apporté à la valorisation de l’espace architectural. Les antiquaires ne furent pas en reste puisque plusieurs stands furent particulièrement remarqués pour la somptuosité de leur mise en espace.

Outre le fait que la superficie, quatre fois supérieure à celle du Palais des Beaux-Arts,  permit le rassemblement de près du double d’exposants (97), c’est surtout la rigueur de la sélection et l’attention toute particulière portée aux journées d’expertise, le fameux ‘vetting’, effectué pour la première fois en Belgique par un comité d’experts totalement indépendants des exposants, qui permirent de rencontrer à ce point les attentes qualitatives de l’exigeant public du salon. L’offre artistique variant toujours de l’Antiquité au classicisme moderne, le souci de qualité et d’exception constitue l’une des préoccupations majeures des organisateurs. La 49ème édition de la foire a donné raison à leur souci d’excellence.

Le renforcement de la qualité s’est ainsi traduit par un maintien sensible du volume des ventes. La peinture et les arts dits non européens étant particulièrement prisés cette année. Ainsi chez Jan De Maere où, entre autre, une oeuvre de Joyant, Venise le Grand Canal, a été payée 16.000 €. Chez Zeberg, plusieurs meubles italiens de la Haute Epoque ont été vendus tandis que, actualité oblige, Harold T’Kint se séparait de trois œuvres de Khnopff dont l’exceptionnelle Apollonide et un merveilleux petit Paysage à Fosset. Chez Lancz, on a vendu une très belle gouache et pastel de la main de Théo Van Rysselberghe, le Couvent des  Ursulines a noté un intérêt tout particulier pour le mobilier Charles X, dont il s’est fait la spécialité, tandis que Bernard De Leye se réjouissait de la vente de plusieurs boîtes exceptionnelles en or ainsi que de la fameuse décoration de la Toison d’Or offerte par Louis-Philippe au Duc de Nemours.

La Foire des Antiquaires de Belgique est toujours l’occasion de découvertes exceptionnelles. Rendez-vous est d’ores et déjà pris pour le Cinquantième anniversaire de l’événement, du 21 au 30 janvier 2005, sur le site de Tour et Taxis.

Chambre Royale des Antiquaires de Belgique
Rue Ernest Allard 32, 1000 Bruxelles
www.antiques-fair.be

February 19, 2004

Carl Andre at Paula Cooper Gallery, NYC

Carl Andre
Lament for the Children
Paula Cooper Gallery, New York

February 20 - April 3, 2004

The Paula Cooper Gallery presents Carl Andre’s Lament for the Children. The work will be on view at 534 West 21st Street from February 20 until April 3, 2004.

Lament for the Children consists of one hundred concrete blocks standing vertically in rows of ten at the intersections of a grid. The sculpture was originally created and exhibited in the abandoned playground at P.S.1 in 1976, for the Contemporary Art Center’s inaugural show, ‘Rooms’. The grid formation of the piece was derived from the interval between the joints in the paving of the playground. Lament for the Children was subsequently destroyed and remade in 1996 for an exhibition at the Kunstmuseum Wolfsburg in Germany. This exhibition marks the first time the piece has been shown in New York since its creation in 1976.

Possessing a somber presence, the piece bears a visual resemblance to a field of gravestones, or an army of sentinels in grid formation. Besides relating to the piece’s original location in a children’s playground, the title Lament for the Children refers to a seventeenth-century Scottish dirge about the death of five children by fire. The tune, composed for the bagpipe by Patrick Mor MacCrimmon, has been described as the greatest single line melody in European music, and Andre’s reference to it suggests his admiration for traditional and classical culture. This is Andre’s second use of the title: in 1965, he composed the three-page poem 144 Times, which bore the parenthetical title Lament for the Children.

Carl Andre was born September 16, 1935, in Quincy, Massachusetts. From 1951 to 1953, he attended the Phillips Academy, Andover, with Frank Stella and Hollis Frampton (with whom he shared a lasting interest in poetry). In 1957, he settled in New York and shortly thereafter began to create wood sculptures influenced by Brancusi. He progressively moved on to the use of sets of identical elements, and to materials such as granite, limestone, steel, lead and copper. His sculptures, often floor pieces, tend to depart from the traditional principles of sculpture such as verticality and monumentality.

Andre’s first one-person show was held in 1965 at the Tibor de Nagy Gallery, New York, and the following year his work was included in Kynaston McShine’s and Lucy Lippard’s seminal exhibition Primary Structures at the Jewish Museum. He was, with Donald Judd, Dan Flavin and Sol Lewitt, one of the leading artists of the 1960s, often associated with Minimalism. In the 1970s, the artist created large installations, such as 144 Blocks and Stones (1973) for the Portland Center for the Visual Arts, Oregon, and outdoor works such as Stone Field Sculpture (1977) in downtown Hartford, Conn.

Andre’s work has been the subject of several retrospectives, most notably at the Solomon R. Guggenheim Museum, New York, in 1970; the Laguna Gloria Art Museum, Austin, Texas, in 1978; the Whitechapel Art Gallery, London, in 1978; the Stedelijk Van Abbemuseum, Eindhoven, in 1987; the Haus Lange und Haus Esters, Krefeld and the Kunstmuseum, Wolfsburg, in 1996; and the Musée Cantini, Marseilles, in 1997. He lives in New York.

Paula Cooper Gallery
www.paulacoopergallery.com