Fotos: Fred Dott
PLUS QUE TROP (More than too much)
Stefanie Becker, Adelaida Cue Bär, Karl-Heinz Maukel, Anja Scheffler-Rehse
Curators: Peter Heidenwag and Corinna Koch
May 17, 2013, 6.30 p.m. · May 18 – September 07, 2013
by arrangement, +32 4 222 32 95, firstname.lastname@example.org
September 06, 2013, 2 p.m. with Peter Heidenwag and Corinna Koch
The Galerie der Villa (GdV) and Mazv have been invited to exhibit at MADmusée. The GdV is a Hamburg-based studio and project space in which people with and without disability work and cooperate. The exhibition Plus que trop highlights and explores the idiosyncrasies of the MADmusée building and location, emphasizing its urban character.
The participating artists are creating new works on site at the museum.
Mehr als zu viel / More than too much (Mazv) came into being in 2010. The project brings together artists and mediators from many walks of life who originally met at the Galerie der Villa. Plus que trop is the group’s third exhibition developed in close collaboration with the artists at the Galerie der Villa and the first to take place abroad. The exhibition is an experimental dialogue, which inspires diverse ways of seeing the MADmusée architecture and setting. The outdoor installations by Anja Scheffler-Rehse and Karl-Heinz Maukel, created at the site itself, heighten our perception and awareness of the museum’s unique architecture. This dialogue is further developed inside the building through works by Stefanie Becker and Adelaida Cue Bär, as well as by Anja Scheffler-Rehse and Karl-Heinz Maukel.
Adelaida Cue Bär
The artistic works of Adelaida Cue Bär (born 1976 in Madrid, based in Hamburg) are centered on the design and production of objects and room installations using textiles and other decorative materials. In MADmusée, she will be exhibiting, along with other works, a space-shaping screen made from colorful, silky Lurex. At first glance, the piece seems to resemble an abstract painting, with its skillful draping and folding of pleated fabrics and its finely nuanced color palette. Cue Bär carefully selects her materials and suppliers – alongside her work as an artist, she is also a successful designer and stylist working in fashion, photography and theatre.
An image is not fixed and concrete, but rather it challenges us to perceive with a “seeing view” that can arise only as the result of a combinatorial process, through captivating comparison and subjective transference, in other words through the personal fascination that images engender. This exploration of context is, in a certain sense, similar to the historical analysis of meaning practiced by Aby Warburg in his ground-breaking Mnemosyne Atlas, yet in another sense quite far removed from it, since Stefanie Becker (born 1973 in Münster, based in Hamburg) addresses an altogether different question in her work. The formal structure she gives to the images, and her arrangement of elements such as composition, color, iconography, contrast, format and wall space, are not intended to enact a historical investigation of the collective unconscious but rather to stimulate creativity through omission. Becker is interested in the missing connections between pictures, those connections that are not supplied. It is left to the viewer to fabricate these connections and make sense of the carefully arranged and rhythmically spaced groups of images. The photos by Stefanie Becker exhibited on the windows of MADmusée’s restaurant allow an additional connection to form – between the exterior and the interior realm.
The work of Karl-Heinz Maukel (born 1959 in Hamburg, based in Hamburg) can be seen as a systematic contemplation of the world, of art within its own system, and of society. He is particularly concerned with confronting and integrating his own personal linkages and connections within the world of politics and the media. The continual contemplation of these influences within his artistic practice deepens his knowledge and understanding of the complex constellations and relationships visualized in his works. The outdoor installation on the roof of the museum does not just accentuate the building’s unusual architecture, it also encourages viewers to enter into their own worlds of thought and perhaps even create connections of their own.
French writer Jacques Lacan said that the state of a civilization can be gauged from how it deals with its waste. Old vinyl records pieced together and embellished with an Asian figurine on a wooden board, an old garden chair, children’s toys and other objects can currently be seen hanging from the outer wall of MADmusée. With this installation, Anja Scheffler-Rehse (born 1961, based in Hamburg) is opening up her art to the unpredictable influence of third parties. These are collected, found and donated objects, which Scheffler-Rehse is reclaiming and “bringing back to life”. The critical analysis of the social conditions and values relating to overproduction, and the careful selection of pre-existing and used resources are crucial to Scheffler-Rehse. How do societies and individuals deal with used and discarded objects? What do we consider to be trash? How do our perceptions of value change? Other works by the artist can be seen in the museum’s exhibition room, giving insight into the diversity of Scheffler-Rehse’s work.
(Further information about Anja Scheffler-Rehse is available here)
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