Images

Leotta-Ekman Renato Leotta, Aprile, 2017
Marie-Louise Ekman, Fantasifullt möte (Fantasy Meeting), 1997
IMG_7221 Renato Leotta, Aprile, 2017
Hernández-Weerasethakul-Taocheng Wang Rodrigo Hernández, Super Position, 2016
Apichatpong Weerasethakul, The Vapour of Melancholy, 2014
Evelyn Taocheng Wang, The Interview, 2017
Weerasethakul-Taocheng Wang Apichatpong Weerasethakul, The Vapour of Melancholy, 2014
Evelyn Taocheng Wang, The Interview, 2017
Evelyn Taocheng Wang, The Interview, 2017, video still, De Hallen Haarlem. Courtesy Galerie Fons Welters. Photography by Gert Jan van Rooij (2) Evelyn Taocheng Wang, The Interview, 2017
(Installation at De Hallen, Haarlem)
Hernández-Weerasethakul Rodrigo Hernández, Super Position, 2016
Apichatpong Weerasethakul, The Vapour of Melancholy, 2014
R.Herna?ndez, Super position, 2016, carto ne, lacca metallica, stoffa, pittura, tubo in plastica:cardboard, metal lacquer, fabric, paint, plastic tube, cm.50x65x30 Rodrigo Hernández, Super Position, 2016
Leotta-Hernández Renato Leotta, Aprile, 2017
Rodrigo Hernández, The metaphor of the spider (Broken tooth in NYC / Divided by many), 2016
Weerasethakul-Winterling Apichatpong Weerasethakul, The Vapour of Melancholy, 2014
Susanne Winterling, Untitled (The pressure behind your nail colour, my dear), 2009
Weerasethakul Apichatpong Weerasethakul, The Vapour of Melancholy, 2014
Winterling 1 Susanne Winterling, Untitled (The pressure behind your nail colour, my dear), 2009
untitled(thepressurebehindyournailcolour)08 Susanne Winterling, Untitled (The pressure behind your nail colour, my dear), 2009
Winterling-Hernández Susanne Winterling, Untitled (The pressure behind your nail colour, my dear), 2009
Rodrigo Hernández, The metaphor of the spider (Broken tooth in NYC / Divided by many), 2016
7f9a07d4-784e-4cd2-8cc7-826b17bfb57d Rodrigo Hernández, The metaphor of the spider (Broken tooth in NYC / Divided by many), 2016
Winterling-Erol Vert Susanne Winterling, Persistence and Glow for the Plants on Earthseed (spec. Dinoflagellata from Glistening Troubles, 2017
Viron Erol Vert, Flesh of the Ancestors, 2017
Winterling-Feizabadi Susanne Winterling, Crossover Planetary Algae Empire (for Octavia Butler), 2017
Azin Feizabadi, The Epic of Lovers: Mafia, God and the Citizens, 2017
Winterling 2B Susanne Winterling, Persistence and Glow for the Plants on Earthseed (spec. Dinoflagellata from Glistening Troubles, 2017
Winterling 2 Susanne Winterling, Persistence and Glow for the Plants on Earthseed (spec. Dinoflagellata from Glistening Troubles, 2017
Erol Vert Viron Erol Vert, Flesh of the Ancestors, 2017
Erol Vert (detail) Viron Erol Vert, Flesh of the Ancestors, 2017
Erol Vert (detail 2) Viron Erol Vert, Flesh of the Ancestors, 2017
Winterling 3 Susanne Winterling, Crossover Planetary Algae Empire (for Octavia Butler), 2017
Feizabadi Azin Feizabadi, The Epic of Lovers: Mafia, God and the Citizens, 2017
Winterling-Erol Vert-Feizabadi-Weerasethakul-Winterling Installation view
Winterling-Erol Vert-Feizabadi Installation view

Press Release

Many truths are there to be found beyond the post-truth universe, just as there are limitless possibilities to discover within the expanded matter. Not only algorithms and artificial intelligence but also universal frequencies respond to what is spelled out. A poetical ethics at work. Only a couple of years ago the moon was clear and visible; change was in the air. The world was moved by a new collective energy, demanding better democracy in the streets, parks and squares. The indecisive moment that followed was immediately filled by the intermediating agencies, the wave generated by people redirected.

Like a full moon that cannot be captured by a smart device, our enchantment with the moon in sight shifted to the frustrated distance in-between and to the intermediary fingers that block its view. The current moment is in need of a sentimental education. The finger can point to the moon’s location in the night sky. However, it is not the moon. The finger never moons, never reveals, never dreams. Bruce Lee once wisely reminded us that concentrating on the finger makes us miss all the heavenly glory that may exist. When structures collapse and beliefs lose ground, it may be the time to see through the fractured reality and connect with our moons, towards an aesthetics of togetherness. Another political horizon.

Press Release

Dan Gunn is pleased to announce the second solo exhibition by Musa paradisiaca at the gallery.

Recently we met a group of monoplane pilots at a small private aerodrome. They usually gather there to fly and to watch others fly.

On this occasion, one of them was already in the air while the others on the ground were watching him.

The most experienced one was giving a lesson on why aeroplanes fall from the sky / how to escape from aircraft emergencies / when a pilot

wishes to become the aeroplane / when an aeroplane wishes to become the ground.

At the same time, the airborne pilot tried repeated landings, without success.

Suddenly, the whole body of the speaking pilot was transformed and we stopped hearing him. Where once there had been flesh and bones,

now there was metal and glass.

Eventually, the pilot had to quit and try landing at the next aerodrome.

First room right to left:

Compichas [Buddies (Dickies)], 2016
Painted polyester resin and fiberglass
20 x 32 x 18 cm

Lábios [Lips], 2016
Painted polyester resin and fiberglass
27 x 18 x 18 cm

Casa-animal [Animal-house], 2016
Painted polyester resin and fiberglass
70 x 96 x 52 cm

Second room right to left:


Fruto
[Fruit], 2016
Painted polyester resin and fiberglass
20 x 17 x 17 cm

Telheiro-Asa Dois [Shed-wing Two], 2016
Metal and cotton
22 x 200 x 145 cm

Jogadores [Players], 2016
Painted polyester resin and fiberglass
61 x 87 x 90 cm

Tv, 2016
Painted polyester resin and fiberglass
26 x 36 x 36 cm

Third room right to left:

Chevalier, 2016
Painted polyester resin and fiberglass
76 x 72 x 42 cm

Telheiro-Asa Um [Shed-wing One], 2016
Metal and cotton
40 x 160 x 140 cm

Mestres da Velocidade
[Masters of Velocity], 2016
Painted polyester resin and fiberglass
50 x 110 x 52 cm

Patins [Skates], 2016
Painted polyester resin and fiberglass
23 x 36 x 20 cm

Images

mp_0880s Masters of Velocity, 2016
exhibition view
mp_0879s Masters of Velocity, 2016
exhibition view
mp_0881s Masters of Velocity, 2016
exhibition view
mp_0882s Masters of Velocity, 2016
exhibition view
mp_0884s Masters of Velocity, 2016
exhibition view
_s5a1485s Casa-animal [Animal-house], 2016
Painted polyester resin and fibreglass, 70 x 96 x 52 cm
_s5a1486s Casa-animal [Animal-house], 2016
Painted polyester resin and fibreglass, 70 x 96 x 52 cm
_s5a1484s Lábios [Lips], 2016
Painted polyester resin and fibreglass, 27 x 18 x 18 cm
_s5a1483s Lábios [Lips], 2016
Painted polyester resin and fibreglass, 27 x 18 x 18 cm
_s5a1482s Compichas [Buddies (Dickies)], 2016
Painted polyester resin and fibreglass, 20 x 32 x 18 cm
_s5a1481s Compichas [Buddies (Dickies)], 2016
Painted polyester resin and fibreglass, 20 x 32 x 18 cm
mp_0886s Masters of Velocity, 2016
exhibition view
mp_0883s Masters of Velocity, 2016
exhibition view
mp_0896s Masters of Velocity, 2016
exhibition view
mp_0893s Masters of Velocity, 2016
exhibition view
mp_0895s Masters of Velocity, 2016
exhibition view
mp_0897s Telheiro-Asa Dois [Shed-wing Two], 2016
Metal and cotton, 22 x 200 x 145 cm
mp_0892s Telheiro-Asa Dois [Shed-wing Two], 2016
Metal and cotton, 22 x 200 x 145 cm
mp_0902s Telheiro-Asa Dois [Shed-wing Two], 2016
Metal and cotton, 22 x 200 x 145 cm
mp_0900s Masters of Velocity, 2016
exhibition view
_s5a1480s Fruto [Fruit], 2016
Painted polyester resin and fibreglass, 20 x 17 x 17 cm
_s5a1479s Fruto [Fruit], 2016
Painted polyester resin and fibreglass, 20 x 17 x 17 cm
_s5a1475s Jogadores [Players], 2016
Painted polyester resin and fibreglass, 61 x 87 x 90 cm
_s5a1473s Jogadores [Players], 2016
Painted polyester resin and fibreglass, 61 x 87 x 90 cm
_s5a1474s Jogadores [Players], 2016
Painted polyester resin and fibreglass, 61 x 87 x 90 cm
_s5a1472s Tv, 2016
Painted polyester resin and fibreglass, 26 x 36 x 36 cm
_s5a1470s Tv, 2016
Painted polyester resin and fibreglass, 26 x 36 x 36 cm
mp_0890s Masters of Velocity, 2016
exhibition view
mp_0903s Masters of Velocity, 2016
exhibition view
mp_0904s Masters of Velocity, 2016
exhibition view
mp_0906s Masters of Velocity, 2016
exhibition view
_s5a1455s Masters of Velocity, 2016
exhibition view
mp_0907s Masters of Velocity, 2016
exhibition view
_s5a1461s Telheiro-Asa Um [Shed-wing One], 2016
Metal and cotton, 40 x 160 x 140 cm
_s5a1462s Masters of Velocity, 2016
exhibition view
_s5a1468s Chevalier, 2016
Painted polyester resin and fiberglass, 76 x 72 x 42 cm
_s5a1469s Chevalier, 2016
Painted polyester resin and fiberglass, 76 x 72 x 42 cm
_s5a1460s Masters of Velocity, 2016
exhibition view
_s5a1464s Mestres da Velocidade [Masters of Velocity], 2016
Painted polyester resin and fiberglass, 50 x 110 x 52 cm
_s5a1463s Mestres da Velocidade [Masters of Velocity], 2016
Painted polyester resin and fiberglass, 50 x 110 x 52 cm
_s5a1465s Patins [Skates], 2016
Painted polyester resin and fiberglass, 23 x 36 x 20 cm
_s5a1466s Patins [Skates], 2016
Painted polyester resin and fiberglass, 23 x 36 x 20 cm
_s5a1456s Masters of Velocity, 2016
exhibition view
_s5a1459s Masters of Velocity, 2016
exhibition view
_s5a1457s Masters of Velocity, 2016
exhibition view

Press Release

Dan Gunn is pleased to announce the second solo exhibition by Michael Smith at the gallery.

Timeline (1951-2016), 2016
Multi-media installation
Disco ball, lights, fog machine, scrim, video projection
Looped, dimensions variable

Since the 1970s, Michael Smith has been a pioneering figure of performance art. Merging the art world with the entertainment world, he has created a body of work that includes video, commercial, and cable television shows, puppet shows, stand-up comedy, gallery installations, drawings, and even comic books. Through his work, Smith has developed two characters and personae, “Mike” and Baby Ikki. “Mike” functions metaphorically as a kind of ever-hopeful Candide, adrift in a world of rapid technological advancement that he seems incapable of fully comprehending. He has continued to age alongside the artist for more than 35 years. Baby Ikki remains forever young in a onesie and pacifier, grasping at objects and people with infantile curiosity.

In the past few years, much of Smith’s work has focused on the theme of aging and personal reflections on the passage of time. His most recent piece, Timeline (1951-2016), is a meditative tableau installation that appears through a transparent scrim as a timeline of projected dates counting up from 1951, the year of his birth, while a lone disco ball spins in the background over pools of colored light and intermittent puffs of fog. For Smith, like many baby boomers, disco not only represents abandonment and fun but also conjures up the deaths of the many people victimized by the AIDS epidemic.

The disco ball, perhaps the most salient element of the installation, has been an important recurring visual motif in many of Smith’s works, from the USA Free-Style Disco Championship performance in 1979, to the elaborately layered installation Mus-Co in 1997. For viewers familiar with Smith’s performance personae, the timeline will inflect pathos and gravitas onto a seemingly bland and unexamined life. For those coming to the work for the first time, the installation is designed to allow the viewer time and space to reflect and project onto a chronology of specific dates in a quiet, personal manner, offering a more open-ended experience.

Timeline (1951-2016) also considers the continually blurring identities of Smith’s performance personae with that of Michael Smith the artist. The autobiographical dates bracket his life, as well as the “lifespan” of an artistic career and the characters of Baby Ikki, and ‘Mike’. This exhibition is the third iteration of Timeline, after its exhibition in Smith’s solo exhibitions at Tramway, Glasgow in 2014 (as part of Glasgow International) and at Greene Naftali, New York in 2015.

Also in the exhibition are a selection of works on paper by the artist from 1975 to the present.

Images

ms_6874s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6879s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6884s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6887s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6882s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6872s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6866s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6862s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6854s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6846s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6845s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6813s Timeline (1951 - 2016), 2016
disco ball, lights, fog machine, scrim, single channel video projection
ms_6891s Timeline (1951 - 2016), 2016
exhibition view
ms_6892s Timeline (1951 - 2016), 2016
exhibition view
ms_6894s Timeline (1951 - 2016), 2016
exhibition view
ms_6895s Timeline (1951 - 2016), 2016
exhibition view
ms_6893s Timeline (1951 - 2016), 2016
exhibition view
msmith-74-0001 Untitled (Over the Hill), 1975
ink on paper
msmith-96-0001 From the Fax Machine Series, ca. 1996
ink on paper
msmith-00-0002 Plaid, Go To Hell Pants, ca. 2000
pen on paper
msmith-82-0001 Biggest Building in the World, 1982 - 2005
photograph
msmith-05-0002 Backpacks: Drawn From Memory, 2005
pencil, ink and watercolour on paper (double-sided)
msmith-05-0002b Backpacks: Drawn From Memory, 2005
pencil, ink and watercolour on paper (double-sided)
msmith-78-0001 I wonder what... (working drawing for Down in the Rec. Room, 1978
ink and marker on paper
msmith-05-0001 Portal Notes, 2005
pencil, ink and watercolour on paper (double-sided)
msmith-05-0001b Portal Notes, 2005
pencil, ink and watercolour on paper (double-sided)
msmith-02-0001 Good Thru, 2002
ink and correction fluid on paper
msmith-03-0003 You Mine You, 2003
ink on paper
msmith-98-0001 Trying to Send a Fax, 1998
ink on paper
msmith-03-0001 TV Dinner Subdivision, ca. 2003
mixed media on paper (double-sided)
msmith-03-0001b TV Dinner Subdivision, ca. 2003
mixed media on paper (double-sided)

Press Release

First room

Bitterfeld, 2016
polyester, aluminum, silver nitrate, lacquer
each 230 x 140 cm

This series of black epoxy reliefs was made from the imprint of leaves, stones, twigs, bark, berries, nuts and flowers collected around the Silbersee in Bitterfeld-Wolfen, which was the most chemically polluted area in Germany by the 1990s due to the contamination from the adjacent industries and the AGFA-ORWO film factory over a long time. Today's vegetation still carries the diluted sediments of these former contaminations. The reliefs are finished individually with an applied silver nitrate solution that reacts to oxygen and light and that transforms them into oversized three-dimensional abstract photographic plates, speculating on the possibility of a photosensitive landscape that registers all past and future memories of the fractured land.

Second room

Growing Older, Blacker, Deeper in Perpetual Night, 2016
photograms, glass
each 30 x 40 cm

The positive remains of the sprocket holes that were punched out of the filmstrips during the film production at Agfa-Orwo become negative sediments in these sliced photograms. They form both a notation and a geology of the monotonous labour that took place in darkness.

Third room

The Night Side, 2016
video HD, colour, sound
4’ 20”

“My life was the darkroom, and later when I am gone, there will be darkness again.” In the early 1990s, after German reunification, the large Agfa-Orwo factory complex in Wolfen- Bitterfeld stopped its production and was turned into a film- and industry museum overnight. The former halls, where photosensitive materials had been produced constantly in cold and almost complete darkness, in long shifts by female workers, were illuminated and the machines transformed into obsolete objects on display. The womens’ work had been structured around the absence of sight: the orientation in the production spaces was largely determined by an embodied and haptic memory, by patterns of repetition and aural signals. In The Night Side, the hands of Gundula Brett, former worker in the darkrooms of Agfa-Orwo for over 25 years, revisit the machine’s surfaces and notches, forever inscribed in her own body.

Images

AN_3664s The Night Side, 2016
exhibition view
AN_3659s Bitterfeld, 2016
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3661s Bitterfeld, 2016 (detail)
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3660s Bitterfeld, 2016 (detail)
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3671s Bitterfeld, 2016
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3672s Bitterfeld, 2016
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3657s Bitterfeld, 2016
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3662s Bitterfeld, 2016 (detail)
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3663s Bitterfeld, 2016 (detail)
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3674s Bitterfeld, 2016
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3675s The Night Side, 2016
exhibition view
AN_3677s The Night Side, 2016
exhibition view
AN_3678s Bitterfeld, 2016
polyester, aluminium, silver nitrate, lacquer
230 x 140 cm
AN_3697s The Night Side, 2016
exhibition view
AN_3696s The Night Side, 2016
exhibition view
AN_3679s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
each 30 x 40 cm
AN_3687s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
30 x 40 cm
AN_3688s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
30 x 40 cm
AN_3689s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
30 x 40 cm
AN_3691s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
30 x 40 cm
AN_3692s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
30 x 40 cm
AN_3694s Growing Older, Blacker, Deeper in Perpetual Night, 2016
photogram, glass
30 x 40 cm
AN_3680s The Night Side, 2016
exhibition view
AN_3682s The Night Side, 2016
exhibition view
AN_3698s The Night Side, 2016
exhibition view
AN_3703s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3704s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3705s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3706s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3707s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3708s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3709s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3710s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3711s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3712s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3713s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3714s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3715s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3716s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3717s The Night Side, 2016
video HD, colour, sound
4' 20"
AN_3718s The Night Side, 2016
video HD, colour, sound
4' 20"

Images

1 BRUSCKY INVENT's, 2015
exhibition view
2 BRUSCKY INVENT's, 2015
exhibition view
3 BRUSCKY INVENT's, 2015
exhibition view
4 BRUSCKY INVENT's, 2015
exhibition view
5 BRUSCKY INVENT's, 2015
exhibition view
6 BRUSCKY INVENT's, 2015
exhibition view
7 BRUSCKY INVENT's, 2015
exhibition view
8 BRUSCKY INVENT's, 2015
exhibition view
9 Anthropophagic Record, 2015
record player, record, printed label, printed book, razor blades
dimensions variable
10 Anthropophagic Record, 2015
record player, record, printed label, printed book, razor blades
dimensions variable
Obra de arte classificada, Marcel Duchamp, 2013 Obra de arte classificada, Marcel Duchamp, 2013
classified advert in newspaper
29 x 30 cm
Projeto de máquina de xerox reflex para artistas, 1984 Projeto de máquina de xerox reflex para artistas, 1984
classified advert in newspaper
57.5 x 35 cm
Ruídos Adventícios, 1987 Ruídos Adventícios, 1987
classified advert in newspaper
58 x 36.5 cm
Klassifiziert als Kunst, 2015 Klassifiziert als Kunst, 2015
classified advert in newspaper
56.5 x 39.5 cm
31761_PB_Sem título.jpeg Cinema de invencão/acão, 1982
photograph, ink and adhesive on paper
30.5 x 22 cm
31760_PB_Sem título 2.jpeg Cinema de invencão/acão, 1982
photograph, ink, paper and adhesive on paper
30.5 x 22 cm
31759_PB_Vida entre documentos  2.jpeg Cinema de invencão/acão, 1983
photographs on paper
29.1 x 21 cm
Propostas culturais para Pernambuco, 1983 Propostas culturais para Pernambuco, 1983
front page of newspaper
58 x 35 cm
11 BRUSCKY INVENT's, 2015
exhibition view
12 BRUSCKY INVENT's, 2015
exhibition view
13 BRUSCKY INVENT's, 2015
exhibition view
14 BRUSCKY INVENT's, 2015
exhibition view
15 BRUSCKY INVENT's, 2015
exhibition view
16 BRUSCKY INVENT's, 2015
exhibition view
Brain_01 My brain draws like this, 2007
electroencephalograph
digital print on vinyl
70 x 50 cm
Brain_03 My brain draws like this, 2007
electroencephalograph
digital print on vinyl
70 x 50 cm
Brain_10 My brain draws like this, 2007
electroencephalograph
digital print on vinyl
70 x 50 cm
17 BRUSCKY INVENT's, 2015
exhibition view
18 BRUSCKY INVENT's, 2015
exhibition view
19 BRUSCKY INVENT's, 2015
exhibition view
20 BRUSCKY INVENT's, 2015
exhibition view
21 BRUSCKY INVENT's, 2015
exhibition view
22 BRUSCKY INVENT's, 2015
exhibition view
23 BRUSCKY INVENT's, 2015
exhibition view
Xeroperfomance, 1982 Xeroperfomance, 1982
colour xerox on MDF
36.5 x 22.5 cm
Art without and original, 1982 Art without and original, 1982
colour xerox on MDF
26.5 x 21.5 cm
Escre-ver II, 1982 Escre-ver II, 1982
colour xerox on MDF
36.5 x 22.5 cm
Escre-ver III, 1982 Escre-ver III, 1982
colour xerox on MDF
36.5 x 22.5 cm
Escre-ver I, 1982 Escre-ver I, 1982
colour xerox on MDF
37 x 23 cm
Interiores I, 1982 Interiores I, 1982
colour xerox on MDF
36.5 x 23 cm
Poemas II, 1982 Poemas II, 1982
colour xerox on MDF
36 x 23 cm
Poemas III, 1982 Poemas III, 1982
colour xerox on MDF
36.5 x 22.5 cm
IPoema II, 1982 IPoema II, 1982
colour xerox on MDF
36.5 x 22.5 cm
Interiores II, 1982 Interiores II, 1982
colour xerox on MDF
37 x 23 cm
Interiores IV, 1982 Interiores IV, 1982
colour xerox on MDF
35.5 x 23 cm
Interiores III, 1982 Interiores III, 1982
colour xerox on MDF
37.5 x 24 cm
Poemas I, 1982 Poemas I, 1982
colour xerox on MDF
29.5 x 21.5 cm
Grafite Xero:gráfico, 1982 Grafite Xero:gráfico, 1982
colour xerox on MDF
36 x 23 cm
América Latina, 1982 América Latina, 1982
colour xerox on MDF
37 x 22.5 cm
24 BRUSCKY INVENT's, 2015
exhibition view
25 BRUSCKY INVENT's, 2015
exhibition view
26 BRUSCKY INVENT's, 2015
exhibition view
31738_PB_Velotraste III 1 Velotraste III, 1980
black and white xerox
31.5 x 21.5 cm
31736_PB_Velotraste I Velotraste I, 1980
black and white xerox
31 x 21.5 cm
31725_PB_Estudo I Estudo I, 1978
black and white xerox
32 x 21 cm
31727_PB_estudo III Estudo III, 1978
black and white xerox
29.5 x 21 cm
31728_PB_Exercicio I Exercicio I, 1979
black and white xerox
29.5 x 21 cm
31741_PB_prova do artista Prova do artista, 1978
black and white xerox
30.5 x 20.5 cm
31731_PB_Arte Arte, 1979
stamp on black and white xerox
29 x 20.5 cm
31742_PB_Xeroperfomance Xeroperfomance I, 1972
stamp on black and white xerox
32.5 x 21.5 cm
31732_PB_Xeroperfomance Xeroperfomance, 1980
photograph and stamp on xerox
33 x 21.5 cm
27 BRUSCKY INVENT's, 2015
exhibition view
Xerox em negativo I, 1985 Xerox em negativo I, 1985
xerox
20 x 32.5 cm
Xerox em negativo II, 1985 Xerox em negativo II, 1985
xerox
21 x 31 cm
Xerox em negativo III, 1985 Xerox em negativo III, 1985
xerox
29.5 x 20.5 cm
Xerox em negativo IV, 1985 Xerox em negativo IV, 1985
xerox
33 x 21.5 cm
Existência:Resistência, 1978 Existência:Resistência, 1978
thermostatic xerox
32 x 22 cm
Reservado para o reconhecimento de firma, Arte, 1969 Reservado para o reconhecimento de firma, Arte, 1969
thermostatic xerox
21.5 x 16 cm
Observações, 1969 Observações, 1969
thermostatic xerox
21.5 x 14.5 cm
28 BRUSCKY INVENT's, 2015
exhibition view
29 BRUSCKY INVENT's, 2015
exhibition view
30 BRUSCKY INVENT's, 2015
exhibition view

Press Release

“Anything a man can think, another can realize”
Santos Dumont

BRUSCKY INVENTS’s is the first solo exhibition by the Brazilian artist Paulo Bruscky (1949) in Germany. It comprises some of his most experimental art works using, transgressing and/or addressing machines and science. The majority of the works presented in this exhibition have never been shown before, despite being central in his poetics.

One of the early pioneers in the usE of copy machines to make art worldwide, since the beginning of the 1970s Bruscky has produced very sophisticated and complex “xerox” works after understanding and subverting the way the machine works. His first experimentations happened with thermostatic papers in 1969. The following decades have been very productive and intense for him in the terrain of the possibilities of materials and artistic language.

While in New York, as the recipient of a Guggenheim grant in 1982, he had the support of the Xerox company and was able to work with an early colour copy machine for an entire week (at this time there were no such machines in Brazil). With mirrors and objects he was able to develop three dimensional effects and compose intricate images. In another experiment, in 1985, after observing that for a successful copy the paper had to be warm, Bruscky put the paper in a freezer and then used it to make a copy. The machine responded with a “negative copy”. The xerox films appeared in 1980.

The first one LMUWZ, Fogo! was made during a class that Bruscky was teaching at Universidade Católica de Pernambuco. He put cotton, objects and spaghetti letters on the machine’s display, added alcohol and set fire to it. While the material was burning, the machine took many copies that became the frames of his Super 8 film. Xeroxperformance was also made after the filming of copies, but in this case, it is the artist’s body which is depicted. Despite the fact that experimentation is the first intention of all of his xerox works, the series can be roughly divided into two groups: one that is the expressivity of materials in an abstract manner and other that presents the relationship of the artist’s body to the machine.

My brain draws like this is another branch of interaction of the artist with the machine. Working in a hospital in Recife, Bruscky had the chance to make drawings without using his hands… The recently arrived EEG machine allowed him to transpose images of happiness, sadness, preoccupations and tranquility from his brain directly to the paper as traces and compositions. The first experiment was in 1976 but three years later he recorded the process for video. In the middle of the 2000s the series received a new development: the digital results of the latest technology in color. The work’s title changed to My brain draws and paints like this. A new version of this historical piece will be made at the opening of this show like a performance.

For Paulo Bruscky science and technology are fields of creative speculation and transgressiveness, just like any artistic language. BRUSCKY INVENT’s gathers some of his playful inventions. For many years he has been trying to get scientific help for the realization of his ideas via classified posts. The classified section of newspapers has been the space of enunciation of poetical and confrontational messages. Reaching audiences outside the art world is important to Paulo Bruscky.