Bemerkungen
Daniele Buetti is een Zwitserse kunstenaar die voor zijn praktijk gebruik maakt van een grote variëteit aan media: waaronder video, fotografie (soms in combinatie met lichtbakken), tekenen en beeldhouwkunst (🇬🇧 below). Deze media dienen voor Buetti als middel om populaire cultuur te verkennen en bloot te leggen. Zijn prints in de 'Oh boy oh boy'-serie (hier te zien en in de Bernhard Knaus Fine Art booth tijdens Unseen 2016) lijken op glas-in-loodramen, op puzzels en oude mozaïeken. Wanneer de kijker er direct voor staat ziet die zichzelf weerspiegeld. De achterliggende techniek is behoorlijk bewerkelijk: Buetti ontwerpt het sjabloon op een computer, snijdt vervolgens met een laser de patronen uit acrylglas, waarna hij ze heel precies in elkaar laat passen, waardoor het uiteindelijke beeld ontstaat dat hij fotografeert. Dit proces toont overeenkomsten met oude ambachtstechnieken, maar hij maakt gebruik van de nieuwste technologie en het resultaat is nogal gefragmenteerd. Het werk van Buetti is wereldwijd tentoongesteld.
🇬🇧 Daniele Buetti is a Swiss artist whose practice entails the use of a wide variety of media, including video, photography, light boxes, drawing and sculpture, all used in an effort to explore and expose popular culture. His prints in the 'Oh boy oh boy’ series (seen here and in the Bernhard Knaus Fine Art booth during Unseen 2016) resemble stained-glass windows, puzzles and ancient mosaics, that seem to reflect the viewer standing in front of it. The underlying technique is quite laborious: Buetti designs the template on a computer, subsequently cuts the patterns from acrylic glass using a laser, after which he fits them together quite precisely to create the final image that he photographs. This process shares some similarities with old craftmanship techniques, yet he uses the newest technology and the result is quite fragmented. His work has been exhibited worldwide.
The exhibition A comparison of works by: Myriam Holme, Cigdem Aky, Henrik Eiben, Sophie Bouvier Ausländer lauches today @ Bernhard Knaus Fine Art, Frankfurt, 1-9 p.m and will run until January 31, 2021.
(image: Henrik Eiben, Indigo mood, 2020)
1.We recognise oscillation to be the natural order of the world.2.We must liberate ourselves from the inertia resulting from a century of modernist ideological naivety and the cynical insincerity of its antonymous bastard child.3.Movement shall henceforth be enabled by way of an oscillation between positions, with diametrically opposed ideas operating like the pulsating polarities of a colossal electric machine, propelling the world into action.4.We acknowledge the limitations inherent to all movement and experience, and the futility of any attempt to transcend the boundaries set forth therein. The essential incompleteness of a system should necessitate an adherence, not in order to achieve a given end or be slaves to its course, but rather perchance to glimpse by proxy some hidden exteriority. Existence is enriched if we set about our task as if those limits might be exceeded, for such action unfolds the world.5.All things are caught within the irrevocable slide towards a state of maximum entropic dissemblance. Artistic creation is contingent upon the origination or revelation of difference therein. Affect at its zenith is the unmediated experience of difference in itself. It must be art’s role to explore the promise of its own paradoxical ambition by coaxing excess towards presence.6.The present is a symptom of the twin birth of immediacy and obsolescence. Today, we are nostalgists as much as we are futurists. The new technology enables the simultaneous experience and enactment of events from a multiplicity of positions. Far from signalling its demise, these emergent networks facilitate the democratisation of history, illuminating the forking paths along which its grand narratives may navigate the here and now.7.Just as science strives for poetic elegance, artists might assume a quest for truth. All information is grounds for knowledge, whether empirical or aphoristic, no matter its truth-value. We should embrace the scientific-poetic synthesis and informed naivety of a magical realism. Error breeds sense.8.We propose a pragmatic romanticism unhindered by ideological anchorage. Thus, metamodernism shall be defined as the mercurial condition between and beyond irony and sincerity, naivety and knowingness, relativism and truth, optimism and doubt, in the pursuit of many disparate and elusive horizons. We must go ahead and oscillate!
Untitled an exhibition by Herbert Hinteregger with paintings and an installation lauches tomorrow @ Bernhard Knaus Fine Art, Frankfurt, 6-9 p.m. and will run until 31 October.
Bernhard Knaus Fine Art / The Frankfurt Art Experience 2020
@herbert.hinteregger has been using ballpoint pen ink from standard bic pens for years and thus poses questions on the current possibilities of painting, on transformation and revaluation, on reduction and deceleration. His paintings are created with an immense expenditure of time, both in terms of the extraction of the ballpoint pen ink from the refills and the subsequent application of paint. For some years now, Hinteregger has been increasingly integrating his paintings into installation scenarios, thus placing their object character in the foreground. At the same time, the wall as the context of the image is removed from invisibility and loses its supposedly neutral character.
For this 'Face of Face' series, Korean-German artist Kyungwoo Chun invited young actors to take part in a performance in his studio. They were sat at a desk with pen and paper and asked to close their eyes, to think about what they looked like and who they were, and to subsequently draw themselves. During the performance, Chun photographed them, using a long exposure time. The two end results were combined, resulting in the definitive art works: a combination of a drawn self-portrait and a photographic portrait that shows the actors in absolute concentration. This photo was on show in the Bernhard Knaus Fine Art booth during Unseen 2017.
Le Singe Peintre a Stefan à Wengen exhibition lauches tomorrow @ Bernhard Knaus Fine Art, Frankfurt, 7pm and will run until 28 March.
See you later: Adventsrundgang der Galerien in der Niddastraße!
3. Advent, 15. Dezember, 15-18 Uhr: Niddastr. 63 & 84 mit Bernhard Knaus Fine Art, Schierke Seinecke, RUNDGÆNGER und Kai Middendorf Galerie
SALON DER SCHÖNEN DINGE
Sonntag 17. November
11-17 Uhr
Bernhard Knaus Fine Art
visual semiotics a collective exhibition with works by Ernst Caramelle, Nadine Fecht, Dana Greiner, Herbert Hinteregger, Nicolas Jasmin, Thomas Locher, Wilhelm Mundt, Karim Noureldin and Albrecht Schnider lauches tomorrow @ Bernhard Knaus Fine Art, Frankfurt, Germany,7 pm and will run until February 1.
Gallus WALK
Sonntag, 08.09.2019 | 11.00 Uhr und 13.30 Uhr
Kostenfreie Anmeldung hier: Art Experience Walks
Bernhard Knaus Fine Art eröffnete 2007 die aktuellen Galerieräume. Die dort ausgestellten Werke Lena von Goedekes vermitteln die Erfahrung der besonderen Wahrnehmungen in der Arktis. Auf dem folgenden Spaziergang kommt man nicht nur an besonderen Restaurants vorbei, sondern auch an architektonisch interessanten Gebäuden, die gemeinsam aufzeigen, was die Besonderheiten Frankfurts ausmacht. Der junge Ausstellungsmacher Felix Große-Lohmann arbeitet in seinen Hinterhofräumen seit mehreren Jahren mit jungen internationalen Künstlern zusammen. Mit „Craque“ eröffnet die erste Einzelausstellung der Malerin Max Marion Kober, die u. a. bei Michael Krebber an der Städelschule studiert hat (Max Marion Kober - Craque)
