Past Exhibitions

On Friday, 18th of November 2011, from 7 to 9 pm, Galerie Thomas Schulte will present its second solo exhibition with João Penalva.

 

Text, fiction and narrativity are important elements in João Penalva’s art. That was not always the case. During his 20 years working as a painter, his art was strictly non-narrative. When he started exploring installation and using time-based media he turned to fiction, working with photography, projection, and installation, combining light, sound, spoken word and text as subtitles, and sculptural elements.

 

In the center of his second exhibition at Galerie Thomas Schulte, stands a shadow-theater on whose stage an empty wire picture frame slowly turns. Accompanied by a short melody, we watch as the shadows move through changing light and color, subtly leading us to fantasize. This sculpture, entitled Petit Verre (2007), sets the theme of his exhibition in the broadest sense, prompting the apparatus of display to become the main focus. And so it is not about the photograph itself but the stand that holds it, and the enlarger that makes the photograph reality. The prop suddenly is in the spotlight and becomes the main character in this “play,” and the text that accompanies it will actually lead the viewer to believe that a dialogue could be started.

 

With the sculpture, Petit Verre, the slide-projection, Monument (2011), as well as through a series of photographic works, the artist makes his interests clear: Everything revolves around the unseen and what’s behind it, about what lies beyond that which is visible, about the possibility that everything could be different. To Penalva, visible reality represents a reservoir of poetic reinterpretation. Recent works from found originals are composed of both their own positive and negative versions, revealing other, hidden traces of their lives as objects of memory.

 

By combining image and text, for instance, and thereby juxtaposing reality and fiction, he creates works that fuse together what is concrete, what is envisioned, and what is unconscious. João Penalva becomes a storyteller, inventing feigned realities, feeding off the idea that things could be different than they are, or as we perceive them to be.

 

Through these vehicles of expression he circles the question of the logic of the dream as described by art historian and curator Anders Kreuger, who relates Penalva’s work to the ideas of the French philosopher Henri Bergson, in that the dreamer who tries to analyse the images of his dream for a meaning or message becomes too logical as he is not taking the surrounding world into account. In Penalva’s exhibition catalogue from Lunds Konsthall in 2010, Kreuger concludes: “And perhaps I am not so wrong if I understand his art as a kind of inverted dream-work, a constant effort to not interpret the images that are being unrolled. In the end neither he nor we will want to know if we are dreaming or not dreaming.”

Monument, 2011
Continuous two-slide projections with programmed lamp control. Slide projectors, timer, tray stands, books
Variable dimensions
Unique
16mm Tuscan film spool with an undated, untitled film by David Evans for the Ceramics, Glass and Mineral Products Industry Training Board (2), 2011
C-print on Fujicolor Crystal Archive mounted on Dibond, museum board, oak frame, museum glass
78.8 x 64 x 4 cm | 31 x 25 1/4 x 1 1/2 in
Edition 1/2 + 1 AP
Inquire
16mm Tuscan film spool with an undated, untitled David Evans film for the Ceramics, Glass and Mineral Products Industry Training Board (1), 2011
C-type print on Fujicolor Crystal Archive mounted on Dibond, museum board, oak frame, museum glass
78,8 x 64 x 4 cm | 31 x 25 1/4 x 1 1/2 in
Harlequin, 2011
silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, oak frame, museum glass
166.8 x 127.3 x 6 cm | 65 2/3 x 50 x 2 1/3 in
Harlequin and shadow, 2011
2-part work. Photo: silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, oak frame, museum glass. Sculpture: wood, paint, rope
Photo dimensions: 166,8 x 127,3 x 6 cm
Sculpture dimensions: approx. 188 x 79 x 64 cm
Inquire
Petit Verre, 2007
Processor automated shadow theatre with sound, wood, fabric, PVC
160 x 61.5 x 63 cm | 63 x 24 1/4 x 24 3/4 in
Display (shoes), 2011
Silver bromide print on Ilford Glossy fibre paper mounted on Dibond, maple frame, museum board, museum glass
137,6 x 96,6 x 4 cm
Edition 1/3 + 1 AP
Inquire
Display (rugs), 2011
Silver bromide print on Ilford Glossy fibre paper mounted on Dibond, maple frame, museum board, museum glass
137.6 x 96.6 x 4 cm | 54 1/4 x 38 x 1 1/2 in
Edition 1/3 + 1 AP
Inquire
As if she could see him, 2011
Pigment prints on Hahnemühle Photo Rag paper mounted on Dibond, museum board, oak frame, museum glass
128.5 x 81 x 4 cm | 50 2/3 x 32 x 1 1/2 in
Edition 1/3 + 1 AP
Inquire
Sumiko, 2009
Piezo pigment auf Dibond, oak frame, museum glass
128.5 x 81 x 4 cm | 50 2/3 x 32 x 1 1/2 in
Display Stand, Palmer Bequest no. 03 SD, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 20,5 x 17,3 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Display Stand, Acquisition no. 15 SD741, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 17,5 17 x 3,5 cm
Ed. No. 1/2 + 1 AP
JPEN/GTS 38
Inquire
Display Stand, Acquisition no. 27 SD198, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 17,3 x 17,3 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Display Stand, Sarkin Bequest no. 21 SD, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 17,3 x 17,3 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Display Stand, Sarkin Bequest no. 30 SD, 2011
2-part work . part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 20,3 x 17,4 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Modern Toys, 2011
2-part work. Part 1: Silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, maple frame, museum glass. Part 2: pigment print on Hahnemühle Photo Rag 310g paper mounted on Dibond, maple frame, museum glass
Part 1: (1x) 107 x 78 x 4 cm
Part 2: (1x) 31,3 x 17,5 x 3 cm
Ed. No. 1/3 + 1 AP
Inquire
Modern Toys, 2011
2-part work. Part 1: Silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, maple frame, museum glass. Part 2: pigment print on Hahnemühle Photo Rag 310g paper mounted on Dibond, maple frame, museum glass
Part 1: (1x) 107 x 78 x 4 cm
Part 2: (1x) 31,3 x 17,5 x 3 cm
Ed. No. 1/3 + 1 AP
Inquire

On Friday, 18th of November 2011, from 7 to 9 pm, Galerie Thomas Schulte will present its second solo exhibition with João Penalva.

 

Text, fiction and narrativity are important elements in João Penalva’s art. That was not always the case. During his 20 years working as a painter, his art was strictly non-narrative. When he started exploring installation and using time-based media he turned to fiction, working with photography, projection, and installation, combining light, sound, spoken word and text as subtitles, and sculptural elements.

 

In the center of his second exhibition at Galerie Thomas Schulte, stands a shadow-theater on whose stage an empty wire picture frame slowly turns. Accompanied by a short melody, we watch as the shadows move through changing light and color, subtly leading us to fantasize. This sculpture, entitled Petit Verre (2007), sets the theme of his exhibition in the broadest sense, prompting the apparatus of display to become the main focus. And so it is not about the photograph itself but the stand that holds it, and the enlarger that makes the photograph reality. The prop suddenly is in the spotlight and becomes the main character in this “play,” and the text that accompanies it will actually lead the viewer to believe that a dialogue could be started.

 

With the sculpture, Petit Verre, the slide-projection, Monument (2011), as well as through a series of photographic works, the artist makes his interests clear: Everything revolves around the unseen and what’s behind it, about what lies beyond that which is visible, about the possibility that everything could be different. To Penalva, visible reality represents a reservoir of poetic reinterpretation. Recent works from found originals are composed of both their own positive and negative versions, revealing other, hidden traces of their lives as objects of memory.

 

By combining image and text, for instance, and thereby juxtaposing reality and fiction, he creates works that fuse together what is concrete, what is envisioned, and what is unconscious. João Penalva becomes a storyteller, inventing feigned realities, feeding off the idea that things could be different than they are, or as we perceive them to be.

 

Through these vehicles of expression he circles the question of the logic of the dream as described by art historian and curator Anders Kreuger, who relates Penalva’s work to the ideas of the French philosopher Henri Bergson, in that the dreamer who tries to analyse the images of his dream for a meaning or message becomes too logical as he is not taking the surrounding world into account. In Penalva’s exhibition catalogue from Lunds Konsthall in 2010, Kreuger concludes: “And perhaps I am not so wrong if I understand his art as a kind of inverted dream-work, a constant effort to not interpret the images that are being unrolled. In the end neither he nor we will want to know if we are dreaming or not dreaming.”

Works in Exhibition

Monument, 2011
Continuous two-slide projections with programmed lamp control. Slide projectors, timer, tray stands, books
Variable dimensions
Unique
16mm Tuscan film spool with an undated, untitled film by David Evans for the Ceramics, Glass and Mineral Products Industry Training Board (2), 2011
C-print on Fujicolor Crystal Archive mounted on Dibond, museum board, oak frame, museum glass
78.8 x 64 x 4 cm | 31 x 25 1/4 x 1 1/2 in
Edition 1/2 + 1 AP
Inquire
16mm Tuscan film spool with an undated, untitled David Evans film for the Ceramics, Glass and Mineral Products Industry Training Board (1), 2011
C-type print on Fujicolor Crystal Archive mounted on Dibond, museum board, oak frame, museum glass
78,8 x 64 x 4 cm | 31 x 25 1/4 x 1 1/2 in
Harlequin, 2011
silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, oak frame, museum glass
166.8 x 127.3 x 6 cm | 65 2/3 x 50 x 2 1/3 in
Harlequin and shadow, 2011
2-part work. Photo: silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, oak frame, museum glass. Sculpture: wood, paint, rope
Photo dimensions: 166,8 x 127,3 x 6 cm
Sculpture dimensions: approx. 188 x 79 x 64 cm
Inquire
Petit Verre, 2007
Processor automated shadow theatre with sound, wood, fabric, PVC
160 x 61.5 x 63 cm | 63 x 24 1/4 x 24 3/4 in
Display (shoes), 2011
Silver bromide print on Ilford Glossy fibre paper mounted on Dibond, maple frame, museum board, museum glass
137,6 x 96,6 x 4 cm
Edition 1/3 + 1 AP
Inquire
Display (rugs), 2011
Silver bromide print on Ilford Glossy fibre paper mounted on Dibond, maple frame, museum board, museum glass
137.6 x 96.6 x 4 cm | 54 1/4 x 38 x 1 1/2 in
Edition 1/3 + 1 AP
Inquire
As if she could see him, 2011
Pigment prints on Hahnemühle Photo Rag paper mounted on Dibond, museum board, oak frame, museum glass
128.5 x 81 x 4 cm | 50 2/3 x 32 x 1 1/2 in
Edition 1/3 + 1 AP
Inquire
Sumiko, 2009
Piezo pigment auf Dibond, oak frame, museum glass
128.5 x 81 x 4 cm | 50 2/3 x 32 x 1 1/2 in
Display Stand, Palmer Bequest no. 03 SD, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 20,5 x 17,3 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Display Stand, Acquisition no. 15 SD741, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 17,5 17 x 3,5 cm
Ed. No. 1/2 + 1 AP
JPEN/GTS 38
Inquire
Display Stand, Acquisition no. 27 SD198, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 17,3 x 17,3 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Display Stand, Sarkin Bequest no. 21 SD, 2011
2-part work. part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 17,3 x 17,3 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Display Stand, Sarkin Bequest no. 30 SD, 2011
2-part work . part 1: silver bromide print on Ilford Warm Tone Glossy fiber paper mounted on Dibond, maple frame, oak frame, museum board, part 2: pigment print on Hahnemühle Photo Rag mounted on Dibond, maple frame , oak frame, museum glass
Part 1: (1x) 93 x 72 x 6 cm
Part 2: (1x) 20,3 x 17,4 x 3,5 cm
Ed. No. 1/2 + 1 AP
Inquire
Modern Toys, 2011
2-part work. Part 1: Silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, maple frame, museum glass. Part 2: pigment print on Hahnemühle Photo Rag 310g paper mounted on Dibond, maple frame, museum glass
Part 1: (1x) 107 x 78 x 4 cm
Part 2: (1x) 31,3 x 17,5 x 3 cm
Ed. No. 1/3 + 1 AP
Inquire
Modern Toys, 2011
2-part work. Part 1: Silver bromide print on Ilford Warm Tone Glossy fibre paper mounted on Dibond, maple frame, museum glass. Part 2: pigment print on Hahnemühle Photo Rag 310g paper mounted on Dibond, maple frame, museum glass
Part 1: (1x) 107 x 78 x 4 cm
Part 2: (1x) 31,3 x 17,5 x 3 cm
Ed. No. 1/3 + 1 AP
Inquire

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