○ 기획: 킴킴 갤러리
○ 장소: 미술관 자작나무숲, 횡성
○ 기간 : 2018. 10. 2 – 12. 9
○ 참여작가: 성낙영, 성낙희, 주재환, 고등어, 박수지, Jeff Gabel제프 게이블 (미국), Robert Estermann 로버트 에스터만 (스위스), Charles Bronson 찰스 브론슨 (영국), 김나영 & Gregory Maass 그레고리 마스 (독일) 
Showing posts with label robert estermann. Show all posts
Showing posts with label robert estermann. Show all posts
Robert Estermann and Oz Oderbolz at Last Tango
https://www.facebook.com/photo.php?fbid=10226418631845421&set=p.10226418631845421&type=3
Four Boys / Four Horses #2 #3 #4 (Above), 2023
photo print on wooden panel, print: 90 x 209 x 40.5 cm»
Riding.Vision Warehouse (detail), 2023, dimensions variable» at Last Tango, Zurich, 2023
Exhibition View Duo Show «Robert Estermann and Oz Oderbolz; view on Robert Estermann, Riding.Vision Info Desk (detail), 2016–ongoing, trolley, computer display with online concept store» at Last Tango, Zurich, 2023
https://www.contemporaryartswitzerland.com/exhibition/robert-estermann-and-oz-oderbolz-at-last-tango/?fbclid=IwAR2MeIrBNJfsGR9iwzTcrokplO8ImoKoiwEOuBFqsagAP2svNpybGuJjq98
Four Boys / Four Horses @ Last Tango
17.03. – 13.05.2023
For this exhibition we have taken an “archeological” approach, looking back at an older series of Robert Estermann’s drawings Four Boys / Four Horses (1996). What are the questions that come up when we encounter this image? The boy seems to be otherworldly, with his Mona Lisa half-smile, gazing at us innocently.
Last Tango, Zürich
For this exhibition we have taken an “archeological” approach, looking back at an older series of Robert Estermann’s drawings Four Boys / Four Horses (1996). What are the questions that come up when we encounter this image? The boy seems to be otherworldly, with his Mona Lisa half-smile, gazing at us innocently.
The horse, of uncertain gender, is calm and surprisingly curious. Could the line drawing be abstracting, impairing, or even subverting our full comprehension of what’s going on in the image? What is it that is making us deal or not deal with these unruly lines?
The source materials at the entrance produce a time travel back to the artist’s studio. It’s 1995-96, when Robert was studying at École nationale supérieure des beaux-arts de Paris. Four Boys / Four Horses started as one drawing before becoming four drawings, with each image staging a singular experience.
The source materials at the entrance produce a time travel back to the artist’s studio. It’s 1995-96, when Robert was studying at École nationale supérieure des beaux-arts de Paris. Four Boys / Four Horses started as one drawing before becoming four drawings, with each image staging a singular experience.
Exhibited at Last Tango, Boy / Horse is the preparatory drawing for a mural inside a Parisian staircase, later becoming the template for Four Boys / Four Horses #1. At this point in time, three of the original drawings of Four Boys / Four Horses have apparently been misplaced by a gallery. However, the paper cuts (templates) are as Robert describe them, “the DNA that never got destroyed.” Ultimately, as the exhibition goes on, Robert will perform on the paper, producing a new work. One of the rare constants in his work is the expressionism of the angles. 
Four Boys / Four Horses #2 #3 #4, 2023
Robert gets excited by the idea of movement of a line, the radicality of the angle, the freedom of a line to relate to our existence. The three “missing” drawings exist fictionally in a composite photograph titled Four Boys / Four Horses #2 #3 #4, sourced from the artist’s archive. Robert is standing proudly in front of his work. What happens when we see three of these images in their original frieze-like hanging? The mugs, because of their mass-produced everyday object appeal, enable another access to this drawing series.
Riding.Vision is a fully working and daily updated online concept store and research platform that was founded in 2016 as an art project. It is a work in progress. While the theme and history of (human) rider and horse is anything but new, Riding.Vision's approach is unique, as it liquifies the boundaries between traditions, narratives, subcultural expressions, desires, the non-compatible, and the potential embarrassment. It also tells stories of obsession, dominance, colonialism, spectacle and modernity. Avoiding habitual safeguards offered by dogma, taste judgment or cynicism, Riding.Vision assumes the role of a collector and incubator through its own post-colonial mass production and added value of images system. One of Estermann's postulates here is that the resulting new composite materialities of the products and the roughness are agents of new liberties and great, unexplored chances.
Text by Last Tango and Riding.Vision
Boy / Horse (preparatory drawing for a mural inside a Parisian staircase, later becoming the template for Four Boys / Four Horses #1), 1995
marker, charcoal, pencil and tape on brown paper, 224.5 x 169.2 cm
Boy / Horse (preparatory drawing for a mural inside a Parisian staircase, later becoming the template for Four Boys / Four Horses #1), 1995
marker, charcoal, pencil and tape on brown paper, 224.5 x 169.2 cm
Four Boys / Four Horses Mugs, 2000
31 sets of four porcelain mugs with burned in print, each 11 x 8.5 x 8.5 cm
The mugs, because of their mass-produced everyday object appeal, enable another access to this drawing series.
Photos by Kilian Bannwart, courtesy of Last Tango
The mugs, because of their mass-produced everyday object appeal, enable another access to this drawing series.
Photos by Kilian Bannwart, courtesy of Last Tango
Riding.Vision is a fully working and daily updated online concept store and research platform that was founded in 2016 as an art project. It is a work in progress. While the theme and history of (human) rider and horse is anything but new, Riding.Vision's approach is unique, as it liquifies the boundaries between traditions, narratives, subcultural expressions, desires, the non-compatible, and the potential embarrassment. It also tells stories of obsession, dominance, colonialism, spectacle and modernity. Avoiding habitual safeguards offered by dogma, taste judgment or cynicism, Riding.Vision assumes the role of a collector and incubator through its own post-colonial mass production and added value of images system. One of Estermann's postulates here is that the resulting new composite materialities of the products and the roughness are agents of new liberties and great, unexplored chances.
[1] “Liminality as a concept brings together queer ways of thinking through unboundedness, spillage, fluidity, multiplicity, and processes of contingent, non-linear becoming, as well as the relations of power and regulation that seek their stability or closure. It can ground these in everyday lived realities.” Loren March, "Queer and trans* geographies of liminality: A literature review", Progress in Human Geography Volume 45, Issue 3 (June 2021): https://journals.
Say It With Flowers 꽃으로 말하라
A festival by Kim Kim Gallery + Ruang MES 56 + MAKU
Nov. 17th – 20th, 2022
Ruang MES 56, Yogyakarta, Indonesia
Artists:
Andeath (KR), Daniel Satyagraha (ID), Deddy Perkasa, Tennessa Querida, Dolly Roseno, Eris Setiyawan (ID), Dito Yuwono (ID), Eunji Cho (KR), ikkibawiKrrr (KR, collective), Nayoungim (KR) & Gregory Maass (DE), Taring Padi (ID, collective), Douglas Park (UK), Grégoire Motte & Eléonore Saintagnan (FR), Robert Estermann (CH), Sara Velas (US)
Opening: 5pm, Nov 17th, 2022
Performances:
- “Slimy Speech”, performance by Eunji Cho in collaboration with Deddy Perkasa, Tennessa Querida, Dolly Roseno, Eris Setiyawan
- “Architecture + Couture & Cuisine = Architecoutuisine!” ("Arsitektur + Pakaian & Masakan = Arsipakmas!"), a live recital by Douglas Park
Supported by Arts Council Korea
전시, 워크숍, 퍼포먼스, 리서치 등을 수행 방식으로 하는 참가자들은 각기 작업의 내러티브,
역사, 지역성과 동시대 예술에 관한 견해를 공유한다.
또한 역사, 인공물, 생명체, 전통, 공동체, 지역적 정체성, 민속에 새로운 전망을 상호 제안하며
세계와의 관계를 재설정한다.
이 프로젝트의 이름인 ‘꽃으로 말하라 Say it with Flowers’ 는 양국의 지리적인 환경과
근대사를 반영하며, ‘속마음을 꽃으로 표현하라’ 즉, ‘꽃을 통하여 말할 수 없는 것은 없다.’
라는 역설적인 슬로건을 내세운다.
어찌보면 험난한 지역적 특색을 뛰어넘는 창의적인 교류, 풍부한 컨텍스트들에 부드럽고
유연하게 접근하고자 한다.
지적인 유머 감각과 인간적인 따스함으로 각 작가의 개별적 리서치가
전체의 프로젝트로 연결되는 프로세스를 통하여 지역의 역사, 문화를 사유하는 의미와
폭을 지역과 국가의 경계를 초월하여 입체적으로, 동시대의 감수성을 담는다.
참여 작가들의 신작 및 개작을 통해 역사와 가치, 그동안 알지 못했던 이야기들을 작품으로
재탄생시킨다. 이는 익숙한 풍경과 정형화된 사고방식에서 탈피하고, 가본 적 없는 미지를
향한 응시와 탐사의 과정에 임한다.
Double springboard study, circa 2007
https://estermann.com/robert-estermann/2014-double-springboard-and-handrails/
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