Sehr geehrte Damen und Herren, liebe Freunde der Galerie,
zur Eröffnung der Ausstellung:
TIMELINES Non Objective Art from Australia
Emma Langridge I David Weir I Louise Blyton I Terri Brooks I
Giles Ryder I Billy Gruner I Sarah Keighery I Richard van der Aa I
Kyle Jenkins I Matthew Allen
am 21. April ab 19.00 Uhr, laden wir Sie herzlich ein.
Dauer der Ausstellung ist vom 21.04 – 19.05. 2017
Mi. – Fr. jeweils 11:00 bis 15:00 Uhr.
Notes – Australasian Post-Formal 2017
Written by artist Billy Gruner
It’s timely that Arvid Boecker director of Boeckercontemporary in Heidelberg has invited a rare grouping of Australian and New Zealand artists to make a concise exhibition, of contemporary work, pieces illustrative of a personal voice. This project is auspicious given 2017 is the year Germany officially engages with Australasia and the rich legacy of cultural connections that historically exist. For this reason it is appropriate this director produces a show of artists from the south in the genre of non-objective and reductive art within contemporary practice. This exhibition focuses on an exotic sub-genre of reductive art making and works possibly made familiar to German audiences through an exhibition in 2008. That was produced by Christoph Dahlhausen in Bonn – A large touring curation of the SNO (Sydney Non Objective) artists done at GKG, titled ‘Australia – Contemporary Non Objective Art’.
It’s important to understand that amidst the mix of influences that migrated to the southern regions during the 20th Century some continue to relate to the history of contemporary German and Australasian art. Abstraction is one such proven persistent language. The intense thinking that framed the criticality of the Concrete Art movement has a basis in German, Swiss, Dutch, Russian, French and other European traditions first of all, long before an Americanisation in the form of Minimalism could reach Australia’s distant shores. In the comparatively and yet still young major cities of Auckland, Sydney, Brisbane or Melbourne, and as elsewhere in the Southern America’s for instance, reductive practices in art and architecture would be absorbed and have continued unabated. These imported languages would be carefully responded to in often exotic ways. Perhaps it’s just different understandings, nevertheless, familiar dialogues would be disseminated and translated. In the classic modernist period evidence for this new activity exists from the beginning and well after the 20thc. There are unique historic lines of regionally important makers to uncover for those interested in looking deeper into emigrational trends and influences.