Konrad Winter: "Ich kann keinen Mann erkennen"

31. October - 08. December 2018


Am 24. und 25. November 2018 ist die Galerie lange geöffnet. An diesem Kunstwochenende haben wir jeweils von 12:00 bis 19:00 Uhr geöffnet.

Die DavisKlemmGallery präsentiert neue Werke des Salzburger Künstlers Konrad Winter, der seit 2002 zum Künstlerstamm der DavisKlemmGallery gehört. Seit vielen Jahren arbeitet er an seiner Serie der „getarnten Landschaften“ – eine Malerei, die aus der Nähe betrachtet wie ein Tarnmuster wirkt. Mit Autolack auf Aluminium erzielt er eine High-Tech-Wirkung, die nicht auf den ersten Blick erkennen lässt, dass es sich um klassische Malerei handelt.

Hinter den amorphen Farbflächen seiner Gemälde stecken reale, gegenständliche Motive, die als Ausgangspunkt für seine Malerei dienen. Dadurch, dass er sich nicht an die Formen der Dinge hält, sondern die Konturen der Gegenstände (oder Personen) auflöst, verwischt und abstrahiert er die Wirklichkeit.

Der Titel der Ausstellung, „Ich kann keinen Mann erkennen“, ist eine Anspielung auf die Versuche des Betrachters, das Bild hinter dem Bild zu erkennen. Die schillernde, glänzende Oberfläche seiner mit industriellen Autolackfarben gemalten Arbeiten tragen mit dazu bei, dass der Betrachter verwirrt, betört oder gar abgelenkt wird. Während Konrad Winters frühere Werke immer deutliche Anhaltspunkte enthielten, um eine Szene oder eine Landschaft wiederzuerkennen, treibt er für diese Ausstellung den Grad der Abstrahierung voran.

In dieser Ausstellung zeigt die DavisKlemmGallery erstmals auch Arbeiten auf Papier. Für diese verwendet Konrad Winter Gouache statt Autolack. Auch bei diesen Werken spielt er mit seinem Konzept der Tarnung.







Albrecht Wild: Formsache

26. August - 29. September 2018


Opening reception on August 26th, 3:00 - 5:30 pm. An introduction will be given by Dr. Anett Göthe, art historian.

„Formsache“ (matter of form) is the title of Albrecht Wild’s exhibition, in which – as the title tells – form is what matters: new forms that are created when a circle or a rectangle is cut into several pieces and put back together again in a new way. In this exhibition both paintings and collages are presented as well as a 3x5 meter wall installation of his iconic “beer mat” group of works. Wild’s „beer mat“ works are an important group within his oeuvre. The artist revokes their actual purpose (advertising for a brand, moisture absorbent/table top protector and something on which to keep tally the number of drinks ordered). Wild refers to coasters as his pigments with which he works, i.e. “paints”. In the process of cutting and putting the pieces back together to create a new composition, he takes into account the typography, shape and design of each coaster. His “ukiyo-e” collages also belong to this group of works. These he creates using coasters that are printed with traditional ukiyo-e motifs, the claasic Japanese woodblock prints made between the 17th and 19th centuries.

In the exhibition Wild’s “shaped canvases” (not rectangular) are also presented. The intention is to unify the form of the canvas with the painted content. The connection between his collages made with coasters and his canvases are easily identified. Instead of the classic four-cornered rectangular the artist prefers a form similar to a four-leaf clover, the contours of which he outlines while painting.







Petra Scheibe Teplitz: Torffrei

26. August - 29. September 2018


Opening reception on August 26th, 3:00 - 5:30 pm. An introduction will be given by Dr. Anett Göthe, art historian.

Cutting, deconstruction and construction are common characteristics of both Petra Scheibe Teplitz’ and Albrecht Wild’s art. Scheibe Teplitz uses materials that generally don’t attract much attention and are regarded as disposable products. “Torffrei” (peat-free) is the title of her exhibition presented on the upper floor of the gallery. The title refers to one of her latest bodies of work that she makes out of plastic shopping bags or plastic packaging. With much accuracy and precision she cuts the bags into thin strips that she afterwards glues to a wood body in a grid system. The stringent geometry of her works runs contrary to the wording and the pictorial information given on the (former) shopping bags. For her “Tempo” pieces Petra Scheibe Teplitz uses the packaging of this famous product. She makes long strips out of the cellophane packaging, which she then weaves together. The result is a blue and white geometric pattern of lines with the repetitive request to hurry (“tempo, tempo!”).

Her collages out of target paper look like pictures out of a kaleidoscope or like test patterns from the early days of television. References to constructivism and Op art are apparent. Rigorous geometry meets playful experimentation. En passant the artist destroys the objective of the target and changes it into an optical flickering with a hypnotic effect.

The use of trivial materials and mass consumer products is reminiscent of Pop art (e.g. Warhol’s Campbell’s Soup Cans); at the same time Petra Scheibe Teplitz adds new aspects. Her objective is not the image of a product, but its abstraction.







Bean Finneran: sculpture

10. June - 05. August 2018


Finissage on August 5th, 2018, 3:00 - 5:30 pm. Who ever sees Bean Finneran's sculptures for the first time is impressed. After gazing at the artworks for a moment, the viewer starts asking questions: What is it? What is the sculpture made out of? Ceramics? But the sculpture looks soft, not hard. Question after question arises. The answers lead to more questions and to contemplation about Bean Finneran's works.

Her studio is in a swamp at the bay of San Francisco that is influenced by the changing of the tide. Here she watches the constant changes that take place in nature: how the water level rises and falls, coverIng and uncovering plants. Perhaps this is the key to understanding her art: transformation. It is this experience - in combination with Bean Finneran's decades of stage experience with the avantgarde theater group SOON3 - that flows into her work.

The artist puts months if not years of work into her sculptures. She rolls out of clay by hand the basic elements of her sculptures - "curves" as she calls them. These clay curves are all different with various widths, lengths and degrees of curvature. No two curves are alike. After rolling, some of the curves are dipped in glaze. After firing, they are painted by hand. If one thinks about the amount of curves she needs to build a ring with a diameter of two meters, this labor intensive production is astonishing. For Bean, it is meditation.

Her sculptures get their grand appearance at exhibitions. The first important decision to be made is where to set up the sculptures, because once they have been built they can not be moved.

Setting up the sculptures is in itself like a performance. With the help of her assistants she builds curve by curve geometric shapes. The sizes vary depending on the space in which they are in.

Art historian Dr. Kerstin Skrobanek on Bean Finneran's sculptures: "Bean Finneran's works draw their fascination from the tension between pairs of opposites: stabile - unstable, geometric - organic, serial - handmade, hard - soft, compact - modular. Out of hard, handmade basic elements she builds organic geometric shapes that, being made out of small component parts, somehow make the impression of being serially made. Industrial and natural impressions permeate each other: on the one hand her sculptures conjure up associations with sea anenomes or anthers of flowers, while on the other hand they look as though they are made out of soft, bendable rubbery tubes. Looking at her sculptures visions of fired clay do not immediately come to mind."

Skrobanek continues: "Bean Finneran's sculptures are an experience for the senses due to their vibrant colors and seemingly soft, swaying nature. We feel attracted to them and would really like to touch them. Our associations vary from plants and sea creatures to jewelry and feather boas. At the same time her work challenges us on an intellectual level because we start asking ourselves how sculptures work and what we expect from sculpture today."

After every exhibition the sculptures are taken apart completely and the curves packed away in their boxes - until their next performance.







Susanne Rosin: Stadtwesen

14. April - 11. May 2018


On the occasion of the "Short Night of the galleries and museums in Wiesbaden" on April 14th, 2018 we are presenting short films by the Berlin artist Susanne Rosin. Her stop-motion videos deal with ordinary places, such as shopping malls or motorway restaurants, where people meet incidentally.






Steve Johnson: The Farewell State

14. March - 11. May 2018


Opening reception on March 11, 2018 at 3 pm.

The Farewell State is a phonetic anagram of "The Welfare State" - the idea that the government of a state protects and promotes the well-being of its citizens, both in social as well as economic terms. The narrow majority of British voters (51.9% over 48.1%) that voted for Britain to leave the EU have led their fellow countrymen into unchartered waters and left many in despair. Whether Britain makes a success of Brexit, as Prime Minister Theresa May proclaimed to do, remains to be seen.

Steve Johnson's art has always had to do with questions of existentialism. He takes his inspiration from everyday scenes and objects, but gives them a twist, so that they are not simply models. The park benches the sculptor makes are situated on an island-like section of earth high above eye level with the park bench placed perilously close to the edge - hardly a place for relaxation. His series of "grey pieces" display the interiors of homes - curtains, radiators, books and book shelves all in grey. The grey lamp dangling from a power socket signals that something has gone wrong, i.e. the floor is missing. The table that the lamp had been on has fallen into an abyss, as well as any other furniture that may formerly have been in the room. All that remains is what was fixed to the wall.

In the past forty years Steve Johnson's work has been exhibited widely in the U.K. and Europe. He studied at Goldsmiths and at Chelsea College of Art. His tutors at Goldsmiths were Michael Craig-Martin, Tim Head and Richard Wentworth and at Chelsea, Richard Deacon.

Parallel to Johnson's exhibition screenprints by Sir Michael Craig-Martin will be presented in the gallery studio. Craig-Martin was appointed a Royal Academician in 2006 and was awarded a knighthood in 2016 for his services to art.







Michael Craig-Martin - new prints

14. March - 11. May 2018