|Christoph Meier in -Polis-Pollis-Politics- @ Das Weisse Haus|
And the beat goes on...
The Borders of Drawing in its generic title suggests something not generic, but rather at the edge of drawing in an expanded field. The show is in fact a pragmatic and conservative survey of drawing that is largely architecturally based and uniformily black and white. But where the The Borders of Drawing largely fails in the testing of borders it succeeds in reaffirming that drawing is exactly what you think it is. Some may find comfort in the inviolable border of our own imaginations.
Jonathan Quinn in –Polis-Pollis-Politics- @ Das Weisse Haus
|Birgit Knoechl in The Borders of Drawing @ Das Weisse Haus|
The UK artist Gavin Turk at Galerie Krinzinger glad-hands his way through half of art history since the 1960’s. His original proposed paradigm shift just feels old even while some of this too full exhibition feels new. It is impossible not to think of the artist Elaine Sturtevant and her relation to the artist’s artwork she makes. Bruce Hainley writes a review of Sturtevant from 2000 that concisely explains the complexity and double entendre of this artist. Turk lacks this complexity. His fingerprints are on everything, everything is Turked, but nothing transcends the stale premise. What does have a significant impact is the dramatic room of sculpted heads, part of a social experiment that feels alive and curiosity driven. These are a notable departure from the rest of the exhibition.
|Gavin Turk @ Galerie Krinzinger|
Born in 1930 Kurt Hüpfner has mounted his first exhibition at Galerie Dana Charkasi, consisting largely of figurative mixed media sculptures (wood, terracotta, Xerox drawings, etc.) Previously he had just a handful of exhibitions and the work feels from a bygone era, but not dated in a derogatory sense. The work wears the patina of age well. This is interesting because while there are a few works that pre-date 1990 the majority were made after 1995.
|Kurt Hüpfner @ Galerie Dana Charkasi |
One of my favorites is Ein Sommertag, 1978, a bit of an anomaly in the show but a real gem. The installation of the pieces is a bit disorganized but work for work it works!
|Student work at the Angewandte|
|Kurt Hüpfner@ Galerie Dana Charkasi|