Gebanne:
The latex painting is detached from any carrier surface. Brushstrokes of liquid latex condense
into a two-sided and elastic image that can support itself.
The painted latex membrane adapts the surface of its temporary shaper, as an echo of the cave painting. The architecture becomes the image carrier. The motif becomes object, becomes installation, only to become an image in the next moment of the exhibition. Due to the deformation of the picture surface, the compositions jump into the third dimension and thus absorb the space as an extended image space.
Despite all ambitions to combine painting and sculpture, the reality of the material - due to the inevitable decay of the latex - ultimately eludes its claim of durability; In terms of conservation, the latex works are ephemeral.
This is how Gebanne: becomes an urgent exhibition project in which the oversized latex painting, conceived for Pavilion 18 of the AdBK Nuremberg, consumes and absorbs new exhibition conditions and, as an extremely flexible painting, exercises the very act of exhibiting.
The exhibition series Gebanne: was partly supported by the grant program
"Junge Kunst und Neue Wege" by the Free State of Bavaria
Gebanne:Streifen
März-Juni 2023
Lothringer 13 Halle
München
In der Lothringer 13 Halle ist Gebanne: aufgerollt hängend installiert und wird zu Beginn jedes Ausstellungstages von der jeweiligen Aufsichtsperson ein Stück weiter abgerollt. Mit jeder Öffnung der Lothringer 13 Halle wird ein neuer Abschnitt der Malerei sichtbar und durch die tägliche Dokumentation des Abrollprozesses auch ein Teil der weitestgehend unsichtbaren Care Arbeit, die von den Aufsichtspersonen geleistet wird.
Über die Ausstellungszeit hinweg entsteht so in einem einvernehmlichen Arbeitsplatzmonitoring eine neue filmische Arbeit aus Gebanne: heraus, in der sich das Bildmotiv in Gänze sowie in Bewegung in der Halle zeigen wird, ermöglicht durch das Ausgestelltwerden und in Interaktion mit den Aufsichtspersonen.
Fotos: Frank Bauer
Gebanne:derKünstler
Januar-März 2023
Galerie der Künstler*innen
München
In der Ausstellung der Preisträger*innen des Bayerischen Kunstförderpreises der Sparte Bildende Kunst zog sich Gebanne durch drei der Räume in der Galerie der Künstler*innen, in denen die Malerei jeweils wechselnde Funktionen einnimmt:
Von einer verwobenen Installation, die zugleich ihre eigene Absperrung ist, über eine einfache Leitung über die Köpfe der Besucher*innen hinweg, zu einer klassischer platzierten Schraubfigur im Spotlight. Am denkmalgeschützen Boden fixiert wurde Gebanne:derKünstler mit Gewichten der hauseigenen Gerüsttechnik.
Fotos: Edward Baierle
Gebanne:Leiter
Juni-August 2022
Atelier-& Galeriehaus Defet
Nürnberg
In den Räumen des Atelier- und Galeriehauses Defet verbindet Gebanne: nun Stockwerke. Die Malerei führt durch Gänge und Fenster, wird durch das Gebäude und entlang seiner Wege gelegt, gespannt, geknotet und (um)gelenkt. Die Architektur wird zum Bildträger, die Malerei zu einer ihrer vielen Adern, entlang derer man sich durch das Gebäude und seine Räume hindurch bewegt.
Gebanne:PrincessConsuela
Juni 2022
AdBK Nuremberg
Another strain on motif and material. Connecting to the architecture, the painting becomes a piece of furniture. The work becomes a workplace, becomes a display for past versions of itself. Hidden areas and sculptural versions of the painting, momentarily inaccessible in this physical installation, are now shown in parallel as a video reel on the laptop screen.
The time-based element of the documentary video is carried on in the swinging of the table surface - a kinetic aspect of the installation, which is in turn captured via video documentation.
The installation at the AdBK Nuremberg was a non-public presentation as part of an application process for the Kulturpreis Bayern 2022.
Gebanne:[Storage]
& F-A-M [Storage]
April 2022
AdBK München
FAM [Storage]
FAM [Storage] is the collective form of Factor, Age & Means (F-A-M) - an ongoing painting series since 2018. The financial realities of painting become its moti. Dry data about production costs and the financial success of the series are interlacing with coded autobiographical elements, resulting in a distorted diary and painterly financial tracker.
The current collection of unsold paintings from the F-A-M series is housed in storage crates and protected by foam pieces. The construction and manufacturing of these protective aids were informed by part-time jobs in insitutional art exhibitions: places packed with archival accessories and artistic legitimacy. The foam blocks were made on the job for the Kunstverein Nürnberg; they're based on the blocks used at the New Museum in Nuremberg.
The biographical influences of the painting series now transcend from the painterly practice of content and concept into the extended field of realities as a painter: from dealing with painting to dealing with paintings.
Banned:[Storage]
Where F-A-M digests the financial entanglements of painting as material, Gebanne: takes it to the point of absurdity: The approach to painting becomes performative - exhibiting becomes a constant re-creation of composition and context, while being at once a gradually destructive act. The monumental painting, over 80 meters long, will unavoidebly decompose over the next few years and ultimately fall apart.
In combination with F-A-M [Storage], Gebanne: becomes skin, space and an equal partner, incorporating its counterpart into the composition and continuing their inquisitive approaches to painting.
The installation in the new section of the AdBK Munich was a non-public presentation as part of the application process for the Bavarian Art Promotion Prize and the USA scholarship.
Gebanne:AIR
February 2022
(CCI) Fabrika, Moskow
edel extra, Nuremberg
(8XR), VR
interactive 3D Rendering & Animation Mixed-Reality group exhibition
The digital documentation of the painting frees the image of its material constraints. As a digital file, the image can dissociate from time, space and the natural decay of the latex.
The digitization becomes a form of premature embalmment, turning the image into material once again.
As a proactive reconstruction, in Gebanne:AIR it becomes a malleable modell of itself.
In trade for touch, smell and physical responses, this parallel existence of the painting allows for a thorough testing of (im)possibillities.
The selective following of physical laws turns establishes a new set of limits on the painting's digital material: The limits of code, technical resources and the know-how of all parties involved.
The support and skills of others, usually needed for the installation of the latex piece in the exhibition space, is now utilized for the implentation of Gebanne: in the virtual space.
Many thanks especially to Alexander Mrohs and the technical team of 8XR.
Gebanne: AEG
2021 - Auf AEG, Nuremberg
Gebanne:AEG is the third iteration of the oversized latex painting. In the group exhibition during the Hi!A-Festival it takes on the shape of a flacid scroll. A diagrammatic drawing in space, it offers itself to the possibilities of its digitized self. Meanwhile, due to its natural material, the physical object is slowly but steadily decaying.
The digital animation of the painted motif is a translation, the process of which faces limits of language and technology. At the same time, it enables a carefree exploration of the paintings' possible shapes.
Gebanne:bande
2021 - Hinterconti, Hamburg
The 80 meter long latex work is exhibited a second time, in a room that is too small to display its full shape. Compressed and heaped up, the painting is hung, guided, stretched and laid out.
Due to its size, the painting does not allow itself to be seen and read as such in every room. The image folds into an object, becomes a stack of brushstrokes.
Gebanne: vorort
2021 - Pavilion 18, AdBK Nuremberg
For the diploma presentation titled Gebanne:vorort, the art academy studios in Pavilion 18 were left fully furnished. The elastic painting, over 80 meters long and 2 meters high, was installed in the communal studios without removing the furniture or materials of the fellow students. The motif permeates the study rooms of the academy both physically and in terms of content, it digested the architecture and its story(s). Motifs of interactions and intertwined relationships overlay their own locality, which in turn pushes through the pictorial plane of the painting, redirecting and guiding it. Throughout the exhibition space, the priorities between motif and material are constantly being fought out. The painting takes up the space. The painted image disappears behind the act of exhibiting.
