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Meuser | Banal Sensuality

October 29, 2012

Artist Meuser collects working materials, obscured by time of their function, that rest in elegant dissolution.  Mined from scrap yards, welded into new combinations and then varnished, the assemblages are named with found-object titles, playful word constellations, plucked from contemporary linguistic culture.  The artist deems the precise positioning of the forms in the exhibition space to be of primary importance…

“A painter checks the composition of a picture; I compose outside the picture”.

Meuser at Bärbel Grässlin


Gerhard Richter

September 19, 2012

 “Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.”

Gerhard Richter

Giuseppe Penone

September 17, 2012

“I feel forest breathing/and hear the inexorable growth of the wood… / I match my breathing to that of the green world around me. I feel the flow of the tree around my hand/ placed against the trunk. The altered sense of time makes what is solid, liquid, and what is liquid, solid.”

Giuseppe Penone

Diana Al-Hadid

September 12, 2012

Archives of material history, Diana Al-Hadid’s archetypal towers invoke the texture of time and the sensuality of decay.

Diana Al-Hadid


Hiroshi Sugimoto

September 11, 2012

Meditative photographs executed with sobering restraint, seduce us with quiet minimalism and murmur beyond contemporary art into the vastness of the unknown.

Hiroshi Sugimoto

Daniel Buren, Tony Cragg & Tatsuo Miyajima

September 10, 2012

At the intersection of the works by Daniel Buren, Tony Cragg & Tatsuo Miyajima are themes of un-graspable space, of the invisible and the formed, and of catching wayward glances of ourselves within the spaces in between.

Daniel Buren’s 8.7-cm-wide stripes render the spaces between them, visible.  The mute presence of supporting wall that we usually do not perceive consciously becomes a vibrating presence within the composition.

Tatsuo Miyajima’s Counter Sculpture features the recurring motif of LED digits made of mirrored glass that analogously ‘count’ from one to nine.  Each day at random, a new digit is placed into the schema drawn on the floor, narrowing attention from its open expanse, to only the potentiality of the empty fields delineated by thin white lines.  Miyajima demonstrates the limitation of our numeric system, as nine numbers attempt to explain an infinite reality.

Tony Cragg alters the transparency of glass with opaque black acrylic, so it is transformed from window to mirror.  As you stand face to face with your silhouette, it becomes clear that not only the white wall behind the glass is drawn into the conceptual space, but also the space that lingers beyond your back.

Daniel Buren, Tony Cragg & Tatsuo Miyajima

Secret Life | Jonathan Horowitz and Elizabeth Peyton

August 14, 2012

A visual treatise of domesticated plants and clipped flowers, Secret Life, narrates the story of the house plant as a motif for interior domestic spaces and private introspections.  In human contexts, houseplants are at once living organisms and multilayered metaphors, accommodating our human projections of eroticism and fertility, ephemerality and decay, interiority and imagination.

Secret Life | Jonathan Horowitz and Elizabeth Peyton