Endnote, pink re-visits the historic juxtaposition between readymade practises and the syntax of painting, in particular still-life painting. The exhibition features found objects and materials that are carefully placed on and around the gallery floors; used frames and stretchers are covered with materials such as used fabrics. Kiaer treats both iconic practises on one equal basis, and moulds them to a practise well known to a younger generation of conceptual artists: a practise of fragmentation and cultural re-presentation.
Kunstverein München is delighted to show the first solo exhibition in Germany of internationally well-known artist Ian Kiaer. After having participated within the international art world over the last years, with signature exhibitions (GAM Turin, 2009) and numerous contributions to international group shows (4th Berlin Biennale) with Endnote, pink Ian Kiaer has developed a new body of work that is directly inspired by the exhibition spaces of Kunstverein München.
With the exhibition Endnote, pink, Kunstverein München is introducing a new body of work by London based artist Ian Kiaer (*1971 in London). Kiaer is known for his spatial installations of found objects and materials that are carefully placed on and around the gallery floors. With Endnote, pink, the artist enjoys his first solo-exhibition in a German institution. For this particular occasion Ian Kiaer has developed 6 new installations that are directly inspired by the exhibition spaces of Kunstverein München.
Endnote, pink features used frames and stretchers covered with materials such as found fabrics, silver foil or a sheet of yellow latex. The frames hang in close proximity to objects that suggest a human dimension or use, such as a chair, a mat, a table or a pink bin. These objects lead to more spatial assemblages on the gallery floors, combining old electrical wires, used sheets of rubber, and a block of polystyrene. These objects outside the gallery walls could easily be overlooked as 'trash’, but through careful placement in the spaces of the Kunstverein München transformed into an aesthetic composition.
Especially for his Munich exhibition, Ian Kiaer re-visits the historic juxtaposition between readymade practises and the syntax of painting, in particular still-life painting. However, the artist does this without privileging one above the other. Kiaer treats the two iconic practises on an equal basis, and moulds them to a practise well known to a younger generation of conceptual artists: a practise of fragmentation and cultural re-presentation. The 'endnote’ in the title of the exhibition can therefore be employed in a literal sense: as a qualifying addition to a history that has been written and re-written many times before.
Endnote, pink features the end stage of two consecutive projects at Kunstverein München. Where the previous exhibition at Kunstverein München, by German painter Silke Otto-Knapp, remained loyal to the hanging wall, the work of Ian Kiaer makes a physical step into the gallery spaces and identifies his exhibition as a pictorial landscape.
Image: Installation Detail, 2010
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