Division of Labour presents…
Gavin Wade's - Z-TYPE in support of works by Henk Peeters & Bernard Aubertin (in association with Fred Wagemans)
Here at Art Rotterdam Wade proposes 4 structures: Z E R and O Types - The Z-Type will be present, a display and support structure for the work of Dutch artist Henk Peeters and Bernard Aubertin.
Notes on ‘A-Z Type Display Units (After Kiesler and Krischanitz)’ 2015
Artist-curator Gavin Wade is creating an A-Z alphabet of display structures adapted from the artist and architect Frederick Kiesler’s ‘L-Type’ and ‘T-Type’ Display Unit’s of 1924 and Adolf Krischanitz’s ‘Secession Mobile Wall System’ of 1986. Both display systems were made in Vienna, Kiesler’s for the ‘Exhibition of New Theatre Technique at the Konzerthaus, and Krischanitz’s as a permanent wall system as part of his renovation of the Vienna Secession. The structure of Wade’s new display units are loosely based on Kiesler’s attempts to develop a new language of form for installation through a grouping of freestanding demountable supports. Each unit deploys a careful balance of vertical, horizontal and diagonal beams, slatted surfaces and plinths or seats for the adjustable positioning of artworks for display. The materials and dimensions of Wade’s units comes from Krischanitz’s mobile wall system consisting of aluminium, hard wood and inserted ply panels. Wade has merged elements of the two references and overlaid a powder-coated colour system he first devised for his ‘Painting Show’ in 2011. In 2011 Wade first borrowed a set of Mobile Walls from Vienna, before reverse engineering the originals to produce his new 10-panel version as ‘Mobile Wall System with 41 permanent pole positions on a square and triangular grid -(After Adolf Krischanitz)’ for Eastside Projects in 2011.
Notes on ZERO / Henk Peeters, Bernard Aubertin & Gavin Wade -
ZERO, a movement born in the late 1950s with the German artists Otto Piene and Heinz Mack, that fostered artistic discovery by promoting a new environment unconstrained by past artistic traditions. In the Netherlands, the “informal group” of Nul artists began around 1958 and can be narrowed to four: Jan Schoonhoven, Armando, Jan Henderikse and Henk Peeters. Affiliated to the notable members of ZERO; Lucio Fontana, Yves Klein, Hans Haacke, and Piero Manzoni.
Henk Peeters (1925 – 2013) Born in the Hague, culturally educated and active in polotics following his parents conviction for communism. As a teenager he was surrounded by revolutionary soviet propaganda works bt Eisenstein, Rodchenko, Ivens and Lissitzky. In 1941, he enrolls at the Academy of Fine Arts where he studies the paintings and theories of Malevich, Mondrian, Klee, Kandinsky and Moholy-Nagy.
An active member of the radical Dutch NUL group (1960-65), Henk Peeters used found materials and simple placement processes to produce a body of work. Peeters organized the international ZERO exhibitions at Amsterdam’s Stedelijk Museum (1962 and 1965) Peeters was also a work of art, allowing Piero Manzoni to sign his arm, effectively transforming him into a “Living Sculpture.”
Hall Education Royal Academy of Art in The Hague 1957-1972: teacher at the Arnhem Academy 1958-1960: Kees van Bohemen, Jan Henderikse, Armando and Jan Schoonhoven he forms the Dutch Informal Group. 1958 - 2013: Peeters exhibits, especially in group exhibitions at home and abroad (see exhibits for an exhaustive list). 1960-1965: Focus together with Jan Henderikse Jan Schoonhoven and Armando the ZERO group. 1965 (on Monday morning): gives his work if he has it still in treasury, along with the garbage. 1997 - 2013: the 'Koetekendagen' (1997) at Galerie de Boer Waalkens ushering in a new era, "Henk Peeters Tastbaar.
Bernard Aubertin (1934-2015) is known for his monochromatic red paintings. For Aubertin, the red paintings create a depersonalized, mediated experience: they symbolize fire and blood, while at the same time allowing him the space for anonymity. A member of the experimental Dusseldorf Zero Group—founded by Heinz Mack, Otto Piene, and Günther Uecker in 1963—Aubertin reacted against Art Informel and Neo-Expressionism and was interested in developing a new art rooted in international collaborations, concepts, and ideas.
Gavin Wade (b.1971) graduated Central Saint Martins in 1994, and worked in London as an artist and independant curator between 1995-2004. Now based in Birmingham Wade has set up Eastside Projects in 2008 as an artist-run public gallery space in Birmingham, after 12 years of distinctive and challenging artist-curator practice in unusual spaces. His aim was to establish a new model of artist-run space that supports high-quality artists’ practice, impacts significantly on the cultural life of the city, and contributes to both national and international critical cultural ideas and agendas.
The artist-curator, first re-enacted Kiesler’s T-Type display units in 2001 at ARCO Art Fair with Vilma Gold Gallery. He went on to produce a number of progressively adapted versions of both T and L-Type units in London, New York, Sunderland and Guangzhou, where he also produced, as part of his ‘Public Structures’ section of the Guangzhou Triennial in 20015, a large scale bamboo version of Kiesler’s Space Stage also from 1924. Each of Wade’s artworks plays host to a number of artworks by other artists operating as a curated microcosm or a complete exhibition in itself. He first produced walls and platforms as artworks for others in 1997 for his third curated exhibition ‘Low Maintenance / High Precision’ in Hales Gallery and 172 Deptford High Street, London. Since then he has developed a unique position as an artist-curator, often collaborating with others (such as his Support Structure collaboration with Celine Condorelli 2003-2009) using upcycling, re-enactment and structures within exhibitions for ‘supporting’ the work of others. These strategies inform a broader ‘thinking in public’ enquiry into utopian sites, resulting in questioning-projects that merge fiction, public spheres and whatever else feels urgent at the time.