1. Suse Bauer: Landschaft unter Aufsicht (Fedora), 2017
2. Chris Curreri, Untitled (Clay Portfolio), 2013
3. Kasia Fudakowski, Blinking Bonkers, 2016
4. Kate Newby, What a day, 2015
5. Aleen Solari, 4800, 2018
Prices and information of the editions
The proceeds will be used to finance the catalogue for the exhibition.
Landschaft unter Aufsicht (Fedora), 2017
Fine Art Print
50 x 70 cm
edition 10 + 1 AP, with certificate
Suse Bauer (*1979, Germany) engages with the question of whether art can be used as an intermediary to outline utopias and function as a hinge between reality and potentiality. The view of the world from a vertical perspective is becoming more and more important nowadays, for example, in accessing space with satellites or using drones for economic and military purposes. The artist also applies the analytical gaze from a bird’s eye view typical of her working method to the scanner. She creates her compositions made of unfired clay as snapshots directly on the flat board, like the large-format print Landschaft unter Aufsicht(2018). However, the structured scan with the aid of the scanner light is not suitable as a tool of cognition, since the model has long been further processed. The reality of the artwork merely consists in its depiction.
Untitled (Clay Portfolio), 2013
Gelatine Silver Print
19,7 x 14,6 cm
from a series of 21 motives
Soft layers of rolled-out clay are draped in layers. One would like to reach in and feel the malleable, fine-pored earth between the fingers, inhale the smell of the organic, moist mass, and lead the plastic consistence to a concrete shape. The photographs from the series Untitled (Clayportfolio)were taken during Chris Curreri’s one-year ceramics course at the Toronto Gardiner Museum. You can see the failed experiments and leftovers that did not make it into the kiln. The crumbled clay plates and collapsed vessels confront the viewer with a formlessness that seems to be resisting completion. The medium of black-and-white photography stands in strong contrast to the haptic and sensual elements of the clay. The small-format photographs create a formal abstraction and create a distance. As the viewer withdraws from the intense attraction of the image and takes a step back, doubts can arise. Do we see a snapshot of the production process or failure? Curreris work (film, photography and sculpture) is premised on the idea that things in the world are not defined by essential properties, but rather by the actual relationships that we establish with them.
Blinking Bonkers, 2016
Ceramic, glaze, nylon, wire
30 x 5 x 5 cm
edition 5 + 2 AP, sign., dat., num.
(€ 970,- for members of the GAK)
Kasia Fudakowski’s works often assume a position between physicality and abstraction, with an affinity for the absurd and humorous. The same applies to her Jahresgabe. The piece comprises fifteen ceramic life-size eyelids to which the artist has glued fake eyelashes and grouped them together in an absurdist Dadaesque eyelid mobile. Fudakowski uses the title, Blinking Bonkers, to create a humorous connection with the shape of the eyelid, referencing the eye’s ability to blink but also the notion of craziness or insanity. The British idiom “to be on the blink” also means that something is broken or not working quite right. These various interpretations of the title combined with the work’s appearance create an image of eyelids that wink crazily at the viewer, as if they cannot believe their own eyes.
What a day, 2015
Set of 4 glazed ceramics
5 unique (with certificate)
(€ 750,- for members of the GAK)
Stones play a central role in the work of Kate Newby, whether as artificial or found objects embedded in the surface of her works of concrete sculpture, or as autonomous pieces. Newby’s Jahresgabe for the GAK is an example of the latter. Small objects reminiscent of finds on a river bank or sea shore, of flat pebbles, pieces of coral or humpy rocks. However these are not the chance products of nature, but delicately crafted ceramic objects, fired and treated with glossy or matt glazes of various colors. These small unique works can be presented in different settings, whether individually or as an ensemble, on a pedestal, shelf, or table. Transferring the ceramic stones into their (supposedly) natural environment by skipping them across the surface of a pond before allowing them to disappear into the depths or adding them to a pile of natural stones would also correspond to the artist’s intentions. Where and by what means the work is constituted remains vague – a moment of conscious indeterminacy that is essential to Newby’s practice, which is charakterized by ephemeral works skirting the margins of perceptibility.
between €30,- and € 80,-
The Edition 4800 by the artist Aleen Solari combines opposing elements. Her ashtrays made for the Kunsthaus Hamburg are held in delicate pastel colours, the edges are curved and prominently decorated with butterflies, flowers and fruit. These motifs do not necessarily evoke conventional associations with ashtrays. The bitter taste of tobacco and the strong smell of cold smoke are difficult to combine with the sweet scent of flowers and fruit. This contrast is emphasized by the presentation of the works, the ashtrays are filled with ashes, burnt (ceramic) cigarettes and waste.
Solari’s ceramic works are always objects of daily use and carry a performative element within them, so that the recipient – consciously or unconsciously – naturally engages in a dialogue with the work. What makes an object a basic commodity? The intention of the creator, the context of the production or the particular way of using the product?
Further editions accompanying the exhibition are in progress.