The selected artists engage in a political and personal examination of space and time, particularly within the context of a possibly postnatural landscape or conflicted environment. Issues of identity, territory, and materiality are represented and challenged through a variety of media. To request additional information or images please do not hesitate to contact Owen Clements at owen(at)dittrich schlechtriem.com.
ACETO exhibits Juste un Clou Orange; part of a body of work called Transitional Sculpture that reproduce the impression of a continuous loss of detail and occupy the space as monuments that pay homage to nothing and question their own status. Additionally presented is a series bronzes, hung on the walls in such a way as to literally punctuate the space. The casted shapes found their origins in very specific luxury automobile vehicle interior details. Within this context, the layout, the materials used, and the chromatic choice, these elements become closer to timeless ornamental items that can find their own legitimacy and independence.
CARLSEN‘s latest series titled BLISTERCARD consists of large-format color photographs printed on delicate silk stretched over industrial aluminum frames. images of the human form and flesh have been digitally sculpted in a complex process of layering, shaping, and synthesizing hundreds of the artist‘s own photographs. While remaining distinctly digital in their production, the resulting artworks disturb the medium of photography, engaging in a rather innovative discussion on painting and contemporary image-making.
Along with photographic work from the recent series An Invitation to Disappear, CHARRIÈRE will exhibit new sculptural work titled To Observe is to Influence, from a series of totemic teak pillars that have been incised, and burnt over, with imagery of rainforests based on the prints of Alfred Russel Wallace, the 19th century British explorer, biologist and anthropologist.
In using the local as a metaphor for the global, DÚBRAVSKY addresses the ideals of nature, sexuality, gender, power, and the overall disorganized relationships between desire and identity. With his most recent work, Dúbravsky approaches contemporary issues of agriculture, industry, and global climate politics. These new paintings feature dark smoke stacks and silhouetted factory architecture. The distant communist structures provide a Sci-Fi setting for the groupings of figures; climbing, posed, and refecting in the foreground, appearing nude, hungry, and consuming.
GAUDIN’s new sculptural work is composed of curved and treated metal panels, exposed on thin metal structures with fringed ends, and seem to peel off from their construction. Posing as a fabricated sunset, sunrise, a deconstructed photo-shoot backdrop, false light and color reflect on the surfaces, deceivingly, compounding with true surface reflections. Breaking the tenacity of minimalism with the instability of abstraction, Gaudin‘s artworks often imply kinetic movement, potential happenings, with a residue of history, scenic drama, or humor.
GREINER‘s Julia is from a series of portraits of “Coleoidea” and is an exploration into the world of underwater creatures that display both cellular and cognitive comprehension beyond that of most animals. These sophisticatedly composed images examine the concept of identity and the methods of visualization. In assigning human names to the organisms, the anthropocentric view of humans as the most highly evolved creature is thus questioned.
LAZZARINI’s paintings combine appropriated media photos of the actress Sharon Tate with optical patterning, suggesting the refusal of vision as an analogy for the limitations of memory and recall. The artist also presents a sculpture based on wall reliefs in the Hollywood Regency design style, which was popular in Southern California from the 1920s through the 1970s. The gold-toned objects conjure the homes of the Hollywood elite, yet reshaped into indeterminate geometries, confusing visual and bodily experience.
MARTINI has developed sculpture composed of a 3D printed carbon fiber sock filled with a mixture consisting of resin and microcrystaline wax creating a nerve-like exoskeleton. The carbon sock is holding everything in place tight as a rigid epidermis hindering the unrealistic wax movements. The work reflects his philosophical and material understanding of another realm of perception. Martini’s artistic practice embraces an object-oriented philosophical approach, shedding new light on the nature of materialism.
ROTH has recreated one of Donald Judd’s iconic metal and plexiglass sculptures, which has been altered so as to function as a living habitat for Orb Weaver spiders. Their actions blemish the pristine minimalist object and undermining the human-centered phenomenology of the ‘encounter’ that informs Judd’s work. The static art object is thus displaced and its sense of permanence erased. Instead living organisms become the work’s main actors, with the spiders as ephemeral mark makers whose actions cast unpredictable webs.
SHANAN will have her first solo show with the gallery in 2019, In her new work, containing signifiers of the Druze culture from which she comes, figures are shrouded in a state of alienation from their surroundings that is never unambiguously characterized. Have they fallen into a deep sleep or a kind of trance, is their self-absorption a form of inner resistance to the viewer’s importunate gaze or a peaceful and meditative coexistence with the pictorial space? The artist’s body as it appears in her pictures is rigid and passive, but it is never isolated from its context. Her work suspends the difference between figure and ground that defines classical portraiture, for the body cannot be thought without its environment.