Images 19 April – 31 May

1 Horowitz plays Kinderszenen, op. 15
2 Horowitz plays Kinderszenen, op. 15
4 Von fremden Ländern und Menschen, 2014
tainted cement, 17 x 12 x 8 cm
3 Glückes genug, 2014
tainted clay, 17 x 14.5 x 9.5 cm
5 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
6 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
7 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
8 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
9 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
10 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
11 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
12 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
13 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
14 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
15 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
15a Olga
16 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
17 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
18 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
19 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
20 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm
21 PRO AMORE CUBICULUM, 2014
wood, plaster, cotton, 235 x 580 x 360 cm

Images 1 March – 18 April

1 Imitatio et Emulatio, 2014
exhibition view
2 Horowitz plays op. 15 (Fast zu Ernst), 2014
ink and pencil on paper, framed, 43 x 37 x 3 cm
clay, wood, 28 x 12 x 14 cm
3 Ashkenazy plays Partita No. 2 in C minor, BWV 826
installation view
4 Ashkenazy plays Partita No. 2 in C minor, BWV 826
installation view
5 Ashkenazy plays Partita No. 2 in C minor, BWV 826
installation view
6 1. Sinfonia (grave – adagio – andante), 2014
wax, plaster, 16 x 20 x 13 cm
7 2. Allemande, 2014
wax, plaster, cement, 24 x 14 x 14 cm
8 3. Courante, 2014
wax plaster, cement, 17 x 16 x 9 cm
9 4. Sarabande, 2014
wax, plaster, cement, 24 x 16 x 9 cm
10 5. Rondeaux, 2014
wax, plaster, cement, 28 x 15 x 13 cm
11 6. Capriccio, 2014
wax, plaster, 25 x 19 x 12 cm
12 Michelangeli plays Children’s Corner L 117
installation view
13 Michelangeli plays Children’s Corner L 117
installation view
14 Michelangeli plays Children’s Corner L 117
installation view
15 1. Doctor Gradus ad Parnassum, 2014
Cement, 19 x 15.5 x 8 cm
16 2. Jimbo’s Lullaby, 2014
cement, 19 x 20 x 11 cm
17 3. Serenade for the Doll, 2014
cement, 29 x 14 x 10 cm
18 4. The Snow is Dancing, 2014
cement, 16 x 13 x 8 cm
19 5. The Little Shepherd, 2014
cement, 21 x 14 x 12 cm
20 6. Golliwog’s Cakewalk, 2014
cement, 23 x 15 x 11 cm
21 Imitatio et Emulatio, 2014
exhibition view
22 Imitatio et Emulatio, 2014
exhibition view
23 Imitatio et Emulatio, 2014
exhibition view
24 Imitatio et Emulatio, 2014
exhibition view
25 Barenboim plays
installation view
26 Barenboim plays
installation view
27 Barenboim plays
installation view
28 Barenboim plays
installation view
29 Barenboim plays
installation view
30 1. G major Op. 37, 2014
Plaster, MDF, metal, 37 x 30 x 30 cm
31 2. C minor; F sharp major Op. 48, 2014
Plaster, MDF, metal, 32 x 30 x 30 cm
32 3. F minor; E flat major Op. 55, 2014
Plaster, MDF, metal, 36 x 30 x 30 cm
33 4. B major; E major Op. 62, 2014
Plaster, MDF, metal, 32 x 30 x 30 cm
34 5. C minor Op. post., 2014
Plaster, MDF, metal, 30 x 30 x 30 cm

Press Release

Dan Gunn is pleased to announce the opening of the second exhibition by Alessio delli Castelli at the gallery.

The cultural vantage point of being a European is that a properly pointed backward gaze allows one to draw uninterrupted historical lines that connect the present far back to the Palaeolithic. By association, these are lines which can be drawn from any given moment in time backwards and forwards. Museum exhibits are resting points from which these lines can be drawn. They objectify those aspects of human culture which change while remaining fundamentally the same. In the same way as objects in museums present themselves, these lines are never wholesome and continuous but fragmentary and jagged.

Imitatio et emulatio is a Neoclassical formula that signals a distinction between sterile copying and a subtle operation, which through working within the boundaries of an image, extends its possibilities. In this sense copies from antiquity can be said to have a connection to classical music performance. To a lesser degree, the same prejudice towards the invention of new forms exists in music as well. A composer is considered more important than a performer, although there is a relationship of interdependence between them. This may not be so acute between visual artists from different eras, but it exists nonetheless. There is, both for music and the visual arts, the problem of retrieving forms from the past and allowing them to have existence in a present.

Since its inception, photography has been received with mixed emotion by the visual arts. Many of the artists that lived during its early development warned about its dangers for perception. We live at a time when photography is considered the most accurate form of representation of a work of art. Photography presents objects through a fundamental formal lie, especially when it comes to three-dimensional objects. There is an unbridgeable distance between the object and its photograph which can only be crossed by having contact with the original object. That is, however, further and further away from the realm of our possibilities.