10 mars 2013


Jeudi 14. Mars 2013
de 18 h á 22 h

15. / 20. Mars 2013
One Week
One Exhibition
Eight Artists

Adrien Couvrat ∙ Stephan Dill ∙ Christopher Eymann ∙ Daniel Flammer ∙ Charlotte Guibé ∙ Steffen Kugel ∙ Cedric Landivaux ∙ Jiyeun Yang

Adrien Couvrat 
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Stephan Dill 
At first sight a complex mess of oil paint, varnish and ink seem to spread over the entire format. But soon emerge structures that establish an order the viewer‘s eye can be geared to: Sculpted shapes - round or square, silhouettes of human figures and symmetrical frameworks are identify themselves. In Stephan Dill‘s painterly compositions alternate dull and smoky colors with glaring and brittle, and enter in multi-perspective image spaces into a dialogue. Forces take effect that aim centrifugally outwards. At the same moment it pushes from the edges and corners inwards: energies in an organic growth and proliferation seek in all directions. The painterly gestures turn into feathers, fern-like ten-drils, architectures, a heaven. In some works the motif remain completely abstract, while in others the viewer means to identify something concrete, there is rarely clearly figurative elements. Stephan Dill‘s image spaces appear as an ongoing struggle between the vague and the concrete. The artist is the cause of this dispute, while the one who keeps it in check. Only on the condition that this balance is maintained, the act of painting leads to an effective pictorial form. 
Text by: Sephan Dill 
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Christopher  Eymann 

Landscape is, and has for some time been, an important subject in my paintings; as an analogy for plural contents. When viewing a landscape, events in ones own biography can provoke refl ections on various poles, such as urban situations and peripheral; or familiar and unfamiliar culture. I am interested in the idea that a particular place can be a metaphor for an autonomous existence and a sentimental circumstance. Topography often engenders an emotional landscape for me. Relocating from one city to another and from one country to another has often evoked new thinking and new directions for my artistic practice. Particularly the last shift from Berlin to Paris has prompted a new approach, in which I have started to abstract landscapes through geometric shapes and replace the personage with daily life objects. Colours and their combinations have become more important than narrative fi gurative details. One particular walk through the baroque garden at Versailles, which appeared to me a mixture of architecture and landscape, helped formulate this progression in my work. The compositions in my paintings are based on a simple grid. By adding layers of colour I develop a motive, which is not planned in advance. Rather, the direction the motive takes, is dictated by the material itself. The mostly abstract results, which I refer to as “Stimmungsräume” (‘spaces of emotion’) have an implication of figures, yet remain ill-defi ned. The appearance rather stimulates the imagination of the 
observer and leaves space for his or her own interpretation. 
Text by: Christopher Eymann
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Daniel  Flammer 
Daniel Flammer is a fi lmmaker and a painter. The videos he presented at his exhibition show a certain irony toward arts history and his own pictorial practice. This is a good sign, as keeping some distance between oneself and the studied subject is often salutary. For the paintings shown at his exhibit, Daniel Flammer composed on large structures similar to cages, railings and fences, on which certain objects, at times recognizable, at times not, were attached. Through these structures, he tried to “trap reality”. Colors are bright. Sometimes hybrid creatures emerge from these intertwined structures and impose themselves on the canvas, lively and joyful. Their swiftness reminds of the farcical side also found in his videos. These hybrid fi gures are the result of spots that constantly evolve between pure and fi gurative shape and give way to bi-morphic creatures. Daniel Flammer keeps tensely close to both abstraction and representation. The starting point is abstraction. Figures are fi rst conceived as abstract, at the state of mere spots, before they are set to evolve into shape. The space where the creatures take shape can be considered 
bi-dimensional – except that the cage is distorted. It therefore becomes a sort of tri-dimensional trap capturing these colorful and bizarre fi gures, adding apparent depth to the surface. The different levels add up to make you feel that the surface you are looking at is heterogeneous. Daniel is at ease composing his paintings, instilling humor into them. All year long, Daniel Flammer questioned the space in which to stage his pictorial elements. As I am writing these lines, it seems that he is moving toward more reality and perspective, a way toward a more naturalistic painting, in which elements of reality would no longer just 
be trapped into fragments, but rather transposed. A way to offer hist bizarre and extravagant subjects a new space to come out. 
Text by: Daniel Flammer 
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Steffen  Kugel 
Born in Ludwigsburg, Germany, 1982, Steffen Kugel studied at the State Academy of Fine arts in Stuttgart, Germany with Peter Chevalier and with Daniel Richter at the Academy of 
Fine Arts in Vienna, Austria.  Kugel has participated in numerous exhibitions and projects, including “onenightride=paroda+garsas,” Fluxus Ministerija, Vilnius, Lithuania; ,,nnot“ Golden Pudel Club, Hamburg, Germany; “nuovo vago,” Villa Floreal, Cadegliano, Italy; “schwierige naturen,” Christine König Galerie, Vienna, Austria; “seance,” Mobius, Boston and “cash l’enfants.” Bordeaux, France. Kugel currently lives and works in Stuttgart.
o come out. 
Text by: Steffen Kugel 
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Charlotte  Guibé 
Cellular Faces / cellular Spaces 
These two series are divided as pieces of an image, a picture too big to shrink into the small format. As i work it, during days of work while i’am working on bigger formats and other project of  larger size. Maybe it’s little windows of intuition are still at the state of cells, close to the action of drawing but yet into the gesture and the tools and material of painting. The time and the gesture is withdrawn, stuck into the format there is no echo for the eye. I try in my work to go the deeper i can into the image, fi nd another eye scale. To consider these canvas as cellular allows me to change my point of view, research and  decompose as with a microcope. It’s also a work for praparation of trying colors ans forms but always into the mirror of biger formats, i can then ask the habit and the routine of the work in the laboratory that is a studio. Cellular paintings becomes object, these canvas are 
practical, small and portable. 
Text by: Charlotte Guibé 
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Cedric  Landivaux 
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Jiyeun  Yang 
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