The First Art Newspaper on the Net   Established in 1996 Friday, September 25, 2020


Kunsthaus Centre d'art Pasquart opens a comprehensive solo exhibition of works by Florian Graf
Florian Graf, Bio Diversity (Standing), 2018. Concrete, steel, glass, 320 x 30 x 85 cm; Courtesy the artist. Exhibition view Kunsthaus Centre d’art Pasquart, 2019. Photo: Anita Vozza.



BIEL/BIENNE.- Florian Graf (b. 1980, CH) examines in his work themes connected with architecture and landscape architecture and thus investigates the psychological and emotional impact of spaces. Via sculpture, installation, drawing, video or photography he creates moments of poetic density, in which the borders between reality and imagination are dissolved. In the garden of the Kunsthaus Pasquart Florian Graf has installed three concrete sculptures, each constructed from three very different basic forms. A circle, an L-form and a jagged figure also function as the building blocks of ceramic models, a photographic work and a series of drawings. Applied in a variety of ways, these structures differ from each other in terms of their composition, size and placement and make reference to the artist’s considerations of new modular social structures. Finally, he has connected these three forms to create large-scale sculptures in aluminium, staging these spectacularly in the monumental Salle Poma. The further exhibition spaces are transformed by the artist into a living situation, in which his seemingly documentary films are presented alongside the other works. In these Graf plays his alter ego, the action artist Graphenheim, thereby parodying himself. Between conceptual logic, visionary power and subtle humour, Florian Graf examines the appropriation of bodies, role models and living spaces, creating a lively construct from imagination, materiality and temporality.

In his most comprehensive solo exhibition to date Florian Graf accords the drawing books (1988-2018) a central significance, thereby giving us insight into his artistic thought processes. Situated between idea and work, these books acquire a special meaning, since they serve simultaneously as an explanatory model for his work as well as for his stance as an artist. Their content spans sketches for sculptures to conceptual experiments. Between observation and imagination, they refer with playful seriousness to the changing nature of social structures and incite us to consider the world with a questioning gaze.

Florian Graf also considers the series Bio Diversity (2018) to be a changeable structure. These works exist in various dimensions and materials and are always composed from a circle, an L-form and a jagged figure. Installed on the grass in front of the Kunsthaus, the concrete figures appear like small buildings, which because of their openings suggest a supposed inner life. The artist produces modifications of these objects in wood in the size of humans. In their allusion to the human body, they almost appear confrontational. The presence of the three large-format objects in the Salle Poma is achieved by the artist through their materiality in aluminium and the asymmetrical installation in the space. Made in three different colours, due to their placement on a base of organic matter they evoke a game between artificiality and naturalness. Graf highlights the multi-faceted character of the model with a three-part group of ceramic objects. Here, however, the model does not take the role of representing the original. It is rather an autonomous work which in the dialogue with its big sisters can be both the design for a future prototype as well as a study subject. We also discover an ambivalence in the photographs, drawings and text works, which in a variety of ways ground these three basic forms in different combinations. Through the aspect of display, materiality or reception Bio Diversity ultimately examines the potential of a changing architectural corpus and thus becomes the leitmotif of the exhibition.

In his videos about the fictional character Olf Graphenheim, Florian Graf shows that the human body can also be regarded as a container of identities and emotions. Played by the artist himself, Graphenheim appears in the videos Air (2010) or Animistic (2015) as an irritating character, creating works of earthshattering proportions. The witty humour displayed in these videos runs subtly through Florian Graf’s entire œuvre, lending it roguishness and astuteness. These characteristics are also recognisable in the photograph Transfixed (2011). We see here a hammer in which a nail is fixed. Intuitively we ask ourselves how this is possible, forgetting though that the nail could also have been driven into the wooden handle with another hammer. The work Door in Gray (2018) takes as its theme the image in the object and shifts the imagination into reality. When we consider the framed work from a certain distance, it appears to be a photograph. It is only when we approach the work that we recognise that it is in fact a framed door. As observers we are included via our movement and response as part of the work.

Beyond questions concerning the contemplation of art Florian Graf creates with this exhibition a place that questions the museum context as such. When the artist arranges a living situation with furniture placed around the works, an almost cosy environment is created that encourages the visitor to stay and makes us almost forget that we are in an exhibition space. He thus fosters a new way of looking at art and demonstrates that the idea of changeability can be articulated in many different ways.










Today's News

January 28, 2019

Rare Hassam, Jefferson letter and Sèvres porcelain offered at Potomack Auction

Denver Art Museum acquisitions in 2018 include a collection of British art, paintings and photographs

Exhibition at pavlov's dog shows masterpieces of photography taken in the 20th century

Exhibition provides the largest collection of Tolkien material ever assembled in the United States

Exhibition at Aargauer Kunsthaus takes a look at "Art Brut"

The Menil Collection opens 'Contemporary Focus: Trenton Doyle Hancock'

Exhibition at Kunsthal KAdE introduces the work of Caspar Adriaensz van Wittel to the Netherlands

Andy Goldsworthy to create Walking Wall on Nelson-Atkins campus

Exhibition of new works by the Chilean artist Felipe Mujica opens at von Bartha, Basel

Composers draw out peace from Beethoven in new works

In wartime Yemen, children find solace in music

The Newberry Library completes renovations to enhance its public spaces

Apichatpong Weerasethakul wins Artes Mundi 8 prize

Miller Prize winners and university fellows present design concepts for 2019 Exhibit Columbus exhibition

Cornell Fine Arts Museum opens De La Torre Brothers' first solo museum exhibition in Florida

Awoiska van der Molen's first solo show at Annet Gelink Gallery on view in Amsterdam

Zabludowicz Collection announces 11th annual Testing Ground for Art and Education season

New work by PolakVanBekkum screened in the Oude Kerk

Photography and film exhibition examines issues of race and youth identity

Kunsthaus Centre d'art Pasquart opens a comprehensive solo exhibition of works by Florian Graf

Miller & Miller announces highlights from the Canadiana and Historic Objects sale

Exhibition at Tufts University Art Galleries features works by Suara Welitoff

Part one of the historic Spenger Maritime Collection soars to over $100,000 at Clars

13 Teaching Tips Your Kids Healthy Habits




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful