Past Exhibitions

On Friday the 21st of November, 2014, Galerie Thomas Schulte opens the group exhibition Teach Us To Outgrow Our Madness, including works by Danilo Dueñas, Alfredo Jaar, Jonathan Lasker, Iñigo Manglano-Ovalle, Fabian Marcaccio, Michael Müller, David Reed, Leunora Salihu, Albrecht Schnider, and a wall drawing by Stephen Willats in the Corner Space.

 

Teach Us To Outgrow Our Madness gathers ten artists of the gallery’s program and thematically focuses on Drawing, Writing, and Gesture. K4, the system of character codes that Michael Müller (b. 1970) has developed over the past 25 years is positioned beside the eponymous neon sign by Alfredo Jaar (b. 1956), executed in the artist’s handwriting and thus a self-reference as a sketch to the actual work. The Paintant Lab by argentine artist Fabian Marcaccio (b. 1963), displayed in two large showcases, presents filigree, 3D printed silicon sculptures along with drawings and digital prints. These renderings of his painterly gestures reveal themselves equally as the vocabulary of the artist as well as the archive, to which he helps himself in creating his works. The conceptual analysis of his own artistic form language is at the centre of the abstractions of Jonathan Lasker (b. 1948); something that he performs in a particularly fastidious way in his painting Explanation of Ice to a Summer Insect. David Reed (b. 1946) focuses primarily on the pure painterly gesture. In his elongated, landscapeformat canvas #639, with its dynamically drawn, broad curves and loops he demonstrates his sense for color and form. With methodic precision and only seemingly spontaneous, Reed sometimes works several years on such abstractions, which are meticulously planned and implemented. Also, for Albrecht Schnider (b. 1958), preparatory studies in form of countless unconsciously made drawings are at the base his paintings and sculptures (Ohne Titel, 2014). When transferring the composition from one medium to the other, he rids the image of any individual handwriting and comprises movement into solid shapes. Shapes are also that, which Danilo Dueñas (b. 1956) is interested in when examining found objects and materials such as books, wardrobes, doors, or wood. The resulting works on paper and wood allow the color and the relic, removed from its original context, to emerge in a new language of form. Iñigo Manglano-Ovalle (b. 1961) demonstrates how Constantin Brancusi’s 1923 sculpture, Bird in Space, can undergo a contemporary as well as highly intelligent interpretation. He subjects one of the most important sculptural works of classical modernism to 10 times the speed of sound in a wind tunnel. The result, which was recorded with the help of so-called Schlieren photography and reproduced in aluminum, is turned upside down and is displayed in the exhibition as a new transformation in carbon. The sculptor Leunora Salihu (b. 1977) develops impressive bodies of space, which seem to be filled by association and appear to be familiar transformations of organic and technological forms. The selected drawings, which depict struts, waves, and arches, are the medium between vision and sculptural implementation.

 

As a template for his wall drawing in the Corner Space of the gallery, Stephen Willats (b. 1943), who is included in a number of exhibitions in Berlin this winter, uses the drawing Strange Attractor No. 28. As is customary for the conceptual artist, the work is comprised of arrows and geometric shapes, dealing with information processing and social interaction. In its location, the mural provides a mirror image and an activation of the audience rushing by on one of Berlin’s busiest intersections.

MICHAEL MÜLLER
K4-Schriftblätter, 1995/2005
pencil, felt-tip-pen, pen, ink and fiber pen on squared paper
900-part work, 32.2 x 23.5 x 2 cm | 12 2/3 x 9 1/4 x 3/4 in each
Inquire
IÑIGO MANGLANO-OVALLE
Bird in Space (black carbon), 2013
aluminum, carbon fiber, epoxy, H beam steel
280 x 58 x 58 cm | 110 1/4 x 22 3/4 x 22 3/4 in
1/2 + 1AP
Inquire
LEUNORA SALIHU
O.T., 2014
ink on paper
36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
LS/GTS 63
Inquire
LEUNORA SALIHU
O.T., 2014
ink on paper
36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
LS/GTS 60
Inquire
LEUNORA SALIHU
O.T., 2014
ink on paper
36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
LS/GTS 56
Inquire
LEUNORA SALIHU
O.T., 2014
ink on paper
36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
LS/GTS 44
Inquire
LEUNORA SALIHU
O.T., 2014
ink on paper
36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
LS/GTS 41
Inquire
ALBRECHT SCHNIDER
Ohne Titel, 2014
acrylic lacquer on canvas
208 x 148 cm | 82 x 58 1/4 in
STEPHEN WILLATS
Strange Attractor Series No. 28, 2013
gouache and pencil on paper
72 x 96 x 4 cm | 28 1/3 x 37 3/4 x 1 1/2 in
ALFREDO JAAR
Teach Us To Outgrow Our Madness, 1995
neon
255 x 200 cm | 100 1/2 x 78 3/4 in
Edition 1 + 1 AP
Inquire
FABIAN MARCACCIO
Actant, 2013
digital print
21 x 28 cm | 8 1/4 x 11 in
FMAR/GTS 258
Inquire
FABIAN MARCACCIO
Actant, 2013
digital print
21 x 28 cm | 8 1/4 x 11 in
FMAR/GTS 256
Inquire
FABIAN MARCACCIO
Actant, 2013
digital print
21 x 28 cm | 8 1/4 x 11 in
FMAR/GTS 241
Inquire
FABIAN MARCACCIO
Actant, 2013
digital print
21 x 28 cm | 8 1/4 x 11 in
FMAR/GTS 250
Inquire
FABIAN MARCACCIO
Actant, 2013
digital print
28 x 21 cm | 11 x 8 1/4 in
FMAR/GTS 226
Inquire
FABIAN MARCACCIO
Actant, 2013
digital print
21 x 28 cm | 8 1/4 x 11 in
FMAR/GTS 231
Inquire
FABIAN MARCACCIO
Plastemic Cluster Y, 2014
3 parts work, 3D printed plastic
(1x) 31.5 x 30 x 1.5 cm
(1x) 14 x 14 x 1 cm
(1x) 13.5 x 13.5 x 0.2 cm
Inquire
FABIAN MARCACCIO
Plastemic Singularity 16, 2014
3D printed plastic, alkyd paint, silicone, rope
25 x 13 x 3 cm | 9 3/4 x 5 x 1 1/4 in
Inquire
FABIAN MARCACCIO
Plastemic Cluster U, 2014
2 parts work, 3D printed plastic, alkyd, silicone
(1x) 23 x 8 x 2 cm
(1x) 23 x 4 x 2 cm
FABIAN MARCACCIO
Plastemic Cluster B, 2014
5 parts work, plastic and silicone
(1x) 20.9 x 10.4 cm, (1x) 18 x 7 cm, (1x) 19.5 x 9.7 cm,(1x) 25 x 5.3 cm, (1x) 21.4 x 11.8 cm
Inquire
JONATHAN LASKER
Explanation of Ice to a Summer Insect, 1999
oil on canvas
177.8 x 243.84 cm | 70 x 96 in
DANILO DUEÑAS
Oh! the sea is blue, 2013
collage on painted wood
40.3 x 48.2 cm | 15 3/4 x 19 in
Inquire
DANILO DUEÑAS
The room was full, 2013
collage on painted wood
45.4 x 41 cm | 17 3/4 x 16 1/4 in
Inquire
DANILO DUEÑAS
Renaissance room, 2013
collage on painted wood
40.84 x 53.95 cm | 16 x 21 1/4 in
Inquire
DANILO DUEÑAS
Church or door, 2013
collage on painted wood
45.8 x 39.7 cm | 18 x 15 2/3 in
Inquire
DANILO DUEÑAS
Australia, 2013
collage on painted wood
38.5 x 54.3 cm | 15 1/4 x 21 1/3 in
Inquire
  • Artist Profiles
  • Works in Exhibition
  • On Friday the 21st of November, 2014, Galerie Thomas Schulte opens the group exhibition Teach Us To Outgrow Our Madness, including works by Danilo Dueñas, Alfredo Jaar, Jonathan Lasker, Iñigo Manglano-Ovalle, Fabian Marcaccio, Michael Müller, David Reed, Leunora Salihu, Albrecht Schnider, and a wall drawing by Stephen Willats in the Corner Space.

     

    Teach Us To Outgrow Our Madness gathers ten artists of the gallery’s program and thematically focuses on Drawing, Writing, and Gesture. K4, the system of character codes that Michael Müller (b. 1970) has developed over the past 25 years is positioned beside the eponymous neon sign by Alfredo Jaar (b. 1956), executed in the artist’s handwriting and thus a self-reference as a sketch to the actual work. The Paintant Lab by argentine artist Fabian Marcaccio (b. 1963), displayed in two large showcases, presents filigree, 3D printed silicon sculptures along with drawings and digital prints. These renderings of his painterly gestures reveal themselves equally as the vocabulary of the artist as well as the archive, to which he helps himself in creating his works. The conceptual analysis of his own artistic form language is at the centre of the abstractions of Jonathan Lasker (b. 1948); something that he performs in a particularly fastidious way in his painting Explanation of Ice to a Summer Insect. David Reed (b. 1946) focuses primarily on the pure painterly gesture. In his elongated, landscapeformat canvas #639, with its dynamically drawn, broad curves and loops he demonstrates his sense for color and form. With methodic precision and only seemingly spontaneous, Reed sometimes works several years on such abstractions, which are meticulously planned and implemented. Also, for Albrecht Schnider (b. 1958), preparatory studies in form of countless unconsciously made drawings are at the base his paintings and sculptures (Ohne Titel, 2014). When transferring the composition from one medium to the other, he rids the image of any individual handwriting and comprises movement into solid shapes. Shapes are also that, which Danilo Dueñas (b. 1956) is interested in when examining found objects and materials such as books, wardrobes, doors, or wood. The resulting works on paper and wood allow the color and the relic, removed from its original context, to emerge in a new language of form. Iñigo Manglano-Ovalle (b. 1961) demonstrates how Constantin Brancusi’s 1923 sculpture, Bird in Space, can undergo a contemporary as well as highly intelligent interpretation. He subjects one of the most important sculptural works of classical modernism to 10 times the speed of sound in a wind tunnel. The result, which was recorded with the help of so-called Schlieren photography and reproduced in aluminum, is turned upside down and is displayed in the exhibition as a new transformation in carbon. The sculptor Leunora Salihu (b. 1977) develops impressive bodies of space, which seem to be filled by association and appear to be familiar transformations of organic and technological forms. The selected drawings, which depict struts, waves, and arches, are the medium between vision and sculptural implementation.

     

    As a template for his wall drawing in the Corner Space of the gallery, Stephen Willats (b. 1943), who is included in a number of exhibitions in Berlin this winter, uses the drawing Strange Attractor No. 28. As is customary for the conceptual artist, the work is comprised of arrows and geometric shapes, dealing with information processing and social interaction. In its location, the mural provides a mirror image and an activation of the audience rushing by on one of Berlin’s busiest intersections.

    Works in Exhibition

    MICHAEL MÜLLER
    K4-Schriftblätter, 1995/2005
    pencil, felt-tip-pen, pen, ink and fiber pen on squared paper
    900-part work, 32.2 x 23.5 x 2 cm | 12 2/3 x 9 1/4 x 3/4 in each
    Inquire
    IÑIGO MANGLANO-OVALLE
    Bird in Space (black carbon), 2013
    aluminum, carbon fiber, epoxy, H beam steel
    280 x 58 x 58 cm | 110 1/4 x 22 3/4 x 22 3/4 in
    1/2 + 1AP
    Inquire
    LEUNORA SALIHU
    O.T., 2014
    ink on paper
    36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
    LS/GTS 63
    Inquire
    LEUNORA SALIHU
    O.T., 2014
    ink on paper
    36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
    LS/GTS 60
    Inquire
    LEUNORA SALIHU
    O.T., 2014
    ink on paper
    36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
    LS/GTS 56
    Inquire
    LEUNORA SALIHU
    O.T., 2014
    ink on paper
    36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
    LS/GTS 44
    Inquire
    LEUNORA SALIHU
    O.T., 2014
    ink on paper
    36 x 48 x 3 cm | 14 1/4 x 19 x 1 1/4 in
    LS/GTS 41
    Inquire
    ALBRECHT SCHNIDER
    Ohne Titel, 2014
    acrylic lacquer on canvas
    208 x 148 cm | 82 x 58 1/4 in
    STEPHEN WILLATS
    Strange Attractor Series No. 28, 2013
    gouache and pencil on paper
    72 x 96 x 4 cm | 28 1/3 x 37 3/4 x 1 1/2 in
    ALFREDO JAAR
    Teach Us To Outgrow Our Madness, 1995
    neon
    255 x 200 cm | 100 1/2 x 78 3/4 in
    Edition 1 + 1 AP
    Inquire
    FABIAN MARCACCIO
    Actant, 2013
    digital print
    21 x 28 cm | 8 1/4 x 11 in
    FMAR/GTS 258
    Inquire
    FABIAN MARCACCIO
    Actant, 2013
    digital print
    21 x 28 cm | 8 1/4 x 11 in
    FMAR/GTS 256
    Inquire
    FABIAN MARCACCIO
    Actant, 2013
    digital print
    21 x 28 cm | 8 1/4 x 11 in
    FMAR/GTS 241
    Inquire
    FABIAN MARCACCIO
    Actant, 2013
    digital print
    21 x 28 cm | 8 1/4 x 11 in
    FMAR/GTS 250
    Inquire
    FABIAN MARCACCIO
    Actant, 2013
    digital print
    28 x 21 cm | 11 x 8 1/4 in
    FMAR/GTS 226
    Inquire
    FABIAN MARCACCIO
    Actant, 2013
    digital print
    21 x 28 cm | 8 1/4 x 11 in
    FMAR/GTS 231
    Inquire
    FABIAN MARCACCIO
    Plastemic Cluster Y, 2014
    3 parts work, 3D printed plastic
    (1x) 31.5 x 30 x 1.5 cm
    (1x) 14 x 14 x 1 cm
    (1x) 13.5 x 13.5 x 0.2 cm
    Inquire
    FABIAN MARCACCIO
    Plastemic Singularity 16, 2014
    3D printed plastic, alkyd paint, silicone, rope
    25 x 13 x 3 cm | 9 3/4 x 5 x 1 1/4 in
    Inquire
    FABIAN MARCACCIO
    Plastemic Cluster U, 2014
    2 parts work, 3D printed plastic, alkyd, silicone
    (1x) 23 x 8 x 2 cm
    (1x) 23 x 4 x 2 cm
    FABIAN MARCACCIO
    Plastemic Cluster B, 2014
    5 parts work, plastic and silicone
    (1x) 20.9 x 10.4 cm, (1x) 18 x 7 cm, (1x) 19.5 x 9.7 cm,(1x) 25 x 5.3 cm, (1x) 21.4 x 11.8 cm
    Inquire
    JONATHAN LASKER
    Explanation of Ice to a Summer Insect, 1999
    oil on canvas
    177.8 x 243.84 cm | 70 x 96 in
    DANILO DUEÑAS
    Oh! the sea is blue, 2013
    collage on painted wood
    40.3 x 48.2 cm | 15 3/4 x 19 in
    Inquire
    DANILO DUEÑAS
    The room was full, 2013
    collage on painted wood
    45.4 x 41 cm | 17 3/4 x 16 1/4 in
    Inquire
    DANILO DUEÑAS
    Renaissance room, 2013
    collage on painted wood
    40.84 x 53.95 cm | 16 x 21 1/4 in
    Inquire
    DANILO DUEÑAS
    Church or door, 2013
    collage on painted wood
    45.8 x 39.7 cm | 18 x 15 2/3 in
    Inquire
    DANILO DUEÑAS
    Australia, 2013
    collage on painted wood
    38.5 x 54.3 cm | 15 1/4 x 21 1/3 in
    Inquire

    Inquire

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