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13/9/2012

Kiki Kogelnik and Manuel Graf

Kunstverein Hamburg, Hamburg

Manuel Graf

ls sont fous ces Romains!

September 15 - December 2, 2012

Manuel Graf (*1978, lives in Düsseldorf), who studied sculpture at Kunstakademie Düsseldorf, has consistently refused to confine himself to any such limitations or pigeonholing in his work. Architecture is a frequently reoccurring theme in his art-not from a practical design perspective, but rather in the way he expresses an interest in examining and experiencing objects. His current project explores the idea that there are three basic types of architectural arrangement. The first type is a longitudinal arrangement along the length of the building, the second is focused around a central point, and the third is decentralised architecture, where the central point is rendered insignificant. The first two types have been relatively widespread since antiquity, particularly in religious buildings, but the third has primarily been characterised by one specific example: the four-iwan mosque. Graf is currently channelling his years of research into this type of construction into a film project that will be presented in the context of the exhibition on the ground floor of the Kunstverein.

The exhibition is funded by: Kunststiftung NRW

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Kiki Kogelnik

I Have Seen the Future

September 15 - December 30, 2012

The solo show on Kunstverein Hamburg’s upper floor marks the first extensive appraisal of the oeuvre of Austrian artist Kiki Kogelnik (1935-1997) in Germany. The majority of the 90 exhibits compiled here can be considered "Pop-related works", whereby the exhibition focuses on the 1960s and thus on a relatively short but intense period in Kiki Kogelnik’s oeuvre. The pictorial worlds on canvas or paper are strongly influenced by Pop Art, though she in fact developed her own subjects and visual vocabulary, which she then pursued for a further 30 years and realized using different media. Kogelnik relocated to New York in the early 1960s and her personal acquaintance with countless Pop artists and her familiarity with the social debates of the day form the backdrop to her artistic effort. Our focus on this timeframe helps to structure the different currents in her work as well as highlighting central stylistic features and emphatic and expressive artistic forms. Human limbs such as arms, legs and hands (the hand with the wristwatch represent the artist herself) repeatedly crop up in Kogelnik’s art. In motion they seem to float in an airless space. Kogelnik uses stencils to transplate the human figure into her pictures. To this end, friends and acquaintances were asked to lie down on strips of paper on her studio floor. She painted their outlines, which she then used to make the stencils. The shift in working surface from the horizontal to the vertical is a method Kogelnik shares with artists such as Robert Rauschenberg and Yves Klein. But unlike many of her fellow Pop artists, the people who populate her works are not celebrities, but people she knew, whose faces we therefore do not recognize. In fact the heads are often absent, or simply replaced by circles. Toward the end of the 1960s she advanced the technique of making “cut-outs” and transformed these into sculptures. In her “Hangings”, the outlines of a body are now transposed onto colored vinyl foil, cut out, and then hung over clothes hangers or rods – and therefore somehow resemble skin that has been peeled off someone.

The exhibition is accompanied by an extensive publication with essays by Angela Stief, Annette Tietenberg and Florian Waldvogel. The exhibition is funded by: kiki Kogelnik Foundation Wien/New York.

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Press contact:
Beate Anspach, Public Relations Telephone +49(0)40 32 21 58 or presse@kunstverein.de

Opening: Friday, September 14, 2012

Der Kunstverein, seit 1817.
Klosterwall 23 20095 Hamburg
Hours Tuesday – Sunday and Public Holidays 12 am – 6 pm
Admission: 3,- Euro / Reduced 1,50 Euro Free entrance for members of the Kunstverein, kids and young adults under age 18

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