Alexander Gutke
25 Jun - 10 Sep 2016
ALEXANDER GUTKE
Silver Lining
25 June – 10 September 2016
Galerija Gregor Podnar is pleased to present Alexander Gutke’s fourth solo exhibition with the gallery.
Consisting of a series of sculptures, a video installation, a film sculpture, and a wall painting, the exhibition continues Gutke’s investigation into the illusive nature and the materiality of cinema, while adding more than a few spins on language, space and our perception thereof. Indeed, in virtually every work, the elasticity of space, real or imagined, seen or heard, is either hinted at, embodied, or metaphorically and literally represented. The wall painting, Silver Lining (2016), which lends its name to the exhibition and which literally consists of a silver, painted line framing a vacant space of wall, conflates the space of metaphor with actual space, while a new series of sculptures, comprised of puddles in different shades of blue can be found throughout the show. The shades refer to automotive paints– Big Sky Blue; Bleu Weekend; Gunmetal Blue; True Blue. By alluding to a certain point in time in which they were used, the puddles potentially reflect the image of a historic sky. The strange and entrancing video installation A Breeze (2016) consists of a wall to wall projection of a lace fan slowly opening and closing. The reflection of the evening sky on its mother of pearl structure, along with a breeze in the delicate cloth, creates a minimal meeting of the inside and outside within the fan itself. Lastly, the filmic sculpture, Looking Glass (2016) is an animation transferred to 35mm film, which is viewed through a magnifying glass connected to a 35mm projector itself. The animation consists of a molecular journey into and out of, as if through a piece of celluloid, thus creating a journey that simultaneously compresses and expands space.
Text by Chris Sharp
Silver Lining
25 June – 10 September 2016
Galerija Gregor Podnar is pleased to present Alexander Gutke’s fourth solo exhibition with the gallery.
Consisting of a series of sculptures, a video installation, a film sculpture, and a wall painting, the exhibition continues Gutke’s investigation into the illusive nature and the materiality of cinema, while adding more than a few spins on language, space and our perception thereof. Indeed, in virtually every work, the elasticity of space, real or imagined, seen or heard, is either hinted at, embodied, or metaphorically and literally represented. The wall painting, Silver Lining (2016), which lends its name to the exhibition and which literally consists of a silver, painted line framing a vacant space of wall, conflates the space of metaphor with actual space, while a new series of sculptures, comprised of puddles in different shades of blue can be found throughout the show. The shades refer to automotive paints– Big Sky Blue; Bleu Weekend; Gunmetal Blue; True Blue. By alluding to a certain point in time in which they were used, the puddles potentially reflect the image of a historic sky. The strange and entrancing video installation A Breeze (2016) consists of a wall to wall projection of a lace fan slowly opening and closing. The reflection of the evening sky on its mother of pearl structure, along with a breeze in the delicate cloth, creates a minimal meeting of the inside and outside within the fan itself. Lastly, the filmic sculpture, Looking Glass (2016) is an animation transferred to 35mm film, which is viewed through a magnifying glass connected to a 35mm projector itself. The animation consists of a molecular journey into and out of, as if through a piece of celluloid, thus creating a journey that simultaneously compresses and expands space.
Text by Chris Sharp