Three exhibitions
dal 27/4/2006 al 2/6/2006
Segnalato da
27/4/2006
Three exhibitions
Galerie Max Hetzler, Berlin
Tradition and culture of his native region of Bahia, as well as themes like poverty, colonialism and globalism are key points of Marepe’s work. Mona Hatoum. The main work with the title "Hot Spot" is a lit-up globe, above human height. With colours and dynamic compositions Beatriz Milhazes’ work takes an outstanding position.
Marepe
Galerie Max Hetzler is pleased to present an exhibition of Marepe in the temporary space at OsramHofe, Oudenarder Strasse 16-20. Marepe was born 1970 as Marcos Reis Peixoto in Santo Antonio de Jesus, Bahia, Brazil where he also lives and works. This is his first solo exhibition in Germany. On the opening day, April 28, there will be a performance from 7 pm.
Tradition and culture of his native region of Bahia, as well as themes like poverty, colonialism and globalism are key points of Marepe’s work. In the show at Galerie Max Hetzler four sculptures are being exhibited for which he used material from his rural region.
A Mudanca (2005), is a wooden pick up truck with furniture, a stove and other belongings one would bring when moving to a new place.
Os Filtros (1999) consists of common water filters that Marepe stretched to make them longer. They stand on wooden pedestals together with small glasses for the visitors who are meant to actually drink the filtered water. The installation comments the lack of and the importance of drinking water, a common problem in many parts of the world. Through the act of drinking, the installation also offers a sort of cleansing process that indicates water as healing or purifying.
Marepes sculptures often invite the viewers to interact and only until then does he consider them complete. Everyday objects such as ceramic water filters, wash basins and cooking pans hold an important position. Marepe does not use them as ready-mades, but modifies them. He calls his sculptures „necessities“ and focuses hereby on the way the objects are being used. The social function is more important than the object itself.
Andador (2005) is a common walking aid for babies which Marepe made bigger, more than 3 metres high. The overwhelming size makes it difficult at first sight to recognize what it actually is. Even something as domestic as the TV appears oversized in Periquitos (2005), a 460 x 615 x 370 cm large model of a TV with colored plexiglass and motorized figures with red beaks moving behind the screen.
Marepe’s work brings to mind an expression of the fellow Brazilian artist Oiticia: „Urban poetic event“.
Marepe has been exhibiting his work since the early 1990’s. He had solo exhibitions at the Centre Pompidou, Paris in 2005, at the Anton Kern Gallery, New York in 2004 and regularly at Galeria Luisa Strina, Sao Paulo. In 2003 he also participated at the Biennials in Istanbul and in Venice.
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Mona Hatoum
Galerie Max Hetzler is pleased to present an exhibition of new work by Mona Hatoum in Holzmarktstrabe 15-18. This is her first solo exhibition with the gallery and in Berlin.
The main work in the exhibition with the ambiguous title Hot Spot is a lit-up globe, above human height. An elegant object that nevertheless can be seen as a vision of the whole world as a dangerous place caught up in conflict and unrest.
Mona Hatoum was born into a Palestinian family in Beirut in 1952 and since 1975 has lived and worked in London. She originally went to England on a visit and stayed on when the outbreak of the civil war in Lebanon prevented her returning.
After studying at the Byam Shaw and the Slade School of Art in London, Hatoum first became widely known in the mid ‘80s for a series of performance and video works that focused with great intensity on the body. Since the beginning of the '90s her work moved increasingly towards large-scale installation works that aim to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination. Hatoum has developed a language in which familiar, domestic everyday objects like chairs, beds, cots and kitchen utensils are often transformed into foreign, threatening and dangerous objects. Even the human body is rendered unfamiliar in Corps e'tranger (1994), a video installation that displays an endoscopic journey through the interior landscape of her own body.
Hatoum's work has been exhibited widely in solo exhibitions in Europe, the United States and Canada. Her exhibition The Entire World as a Foreign Land was the inaugural exhibition for the launch of Tate Britain, London in 2000.
She has also participated in the 1995 Venice Biennale, the 1995 Istanbul Biennial, Documenta XI, 2002, the 2005 Venice Biennial and will be participating in the upcoming Biennale of Sydney in June of this year. In 2004 the largest and most comprehensive survey of her work, including new site-specific pieces, was initiated by the Hamburger Kunsthalle and travelled to the Kunstmuseum Bonn, Magasin 3 Stockholm Konsthall and the Sydney Museum of Contemporary Art (2005). Hatoum was Artist-in-Residence on the DAAD program (Berliner Kunstlerprogramm, Deutscher Akademischer Austrauschdienst) in 2003-2004 and has since divided her time between Berlin and London.
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Beatriz Milhazes
Galerie Max Hetzler is pleased to present an exhibition with new paintings by Beatriz Milhazes. With intense colours and dynamic compositions Milhazes’ work takes an outstanding position. She brings the cliche's about Brazilian culture with its samba and carnival to a further level. Flowers, organic patterns and elements from arts and crafts are stylized. Rooted in Brazilian modernism her work refers to traditional forms of handicrafts, sewing and embroidery. Abstraction and figuration are combined in an unusual way.
Four paintings and two collages from 2005 and 2006 are being exhibited in Zimmerstrasse 90/91.
Beleza Pura (2006) catches the eye, not only because its immense size of 199,5 x 400,5 cm but also from the use of a colder colour scheme of blue and different shades of purple. Milhazes often uses geometric forms like stripes and squares for her backgrounds and in this painting she inserted a black square in the upper right corner. The other paintings are dominated by warmer colours of red and orange.
Unlike most of Milhazes’ works which lack a center in their composition and let the eye follow the swirling ornaments, Nega Maluca (2006) is a square painting with one centered piece. A large stylized flower in dark purple and pink colours emerges on a bright beige and yellow background with small stars. The painting brings to mind a firework in the sky, that grows bigger and bigger and seems to almost be coming out of the canvas.
Ouro Branco (2006) and Chokito (2006) are the two collages in the show. For Chokito (which is he name of a chocolate brand), Milhazes included wrappings and colored paper from candy and chocolate bars.
For her paintings Milhazes uses a special collage technique. She first paints the motives onto glass or plastic sheets. After it has dried she peels it off and attaches it onto the canvas which is prepared with background colour and compositional sketches. It is a slow process which on the other hand gives the artist freedom to change the composition on the way and the result is a dynamic painting with almost three-dimensional effects.
Beatriz Milhazes was born 1960 in Rio de Janeiro, Brazil where she also lives and works. In 2006 she will have a solo show in Paris at the Fondation Cartier. In 2004 Milhazes had a solo show at the Century Museum for Contemporary Art, Kanazawa, Japan. The same year she participated at the Sao Paulo Biennial, Brazil and in 2003 at the Venice Biennial. This is Milhazes’ second solo show at Galerie Max Hetzler.
Galerie Max Hetzler
Holzmarktstrasse 15-18 - Berlin