Mirrors. Luzia Simons + Stefan Sehler
Exhibitions like these often unintentionally bestow special stories on us. Born in 1909 in São Paulo as a descendant of the jewish familiy Marx in Trier Roberto Burle Marx came to Berlin with his parents in 1928/29. He performed in bars and at parties as a pianist and singer. In the botanic greenhouses in Berlin-Dahlem he discovered the ample domestic Brazilian flora. Remigrated to Brazil Marx studied painting and became a painter and landscape architect and worked together among others with Oskar Niemeyer and Le Corbusier. As a ‘gardener’ he stayed an autodidact – a circumstance, that made it easier for him to develop first gardens, for which he exclusively used Brazilian plants and particularly those which were not determined by any bonds of the relevant European garden architecture of his time.
After her first Amazon journey in 2012 Brazilian artist Luzia Simons, currently living in Berlin, betook herself on a second research trip to Brazil in 2014, where she visited gardens influenced by Marx which today still appear as an early act of critisism of globalization. Simons gathered from those numerous of different plants like Agave, Monstera, Begonia, the well-known german house plant Philodendron and Aloe Vera. Wonderful, partly stylized scanograms emerged. As Marx ‘painted’ the landscapes with his plants, Simons seems to draw with them. Dark-green coloured wonders of creation in front of deep black backgrounds, whose protecting glasses afford a further dimension of the view into profundity. Among the herein before described work group ‘Jardim’ you can also experience the ‘Blacklists’ in our presentation – small formats in which serially lined up plants are shown, that recall images of glassy showcases in museums of natural history.
Glass also plays a dominant role in the paintings of the artist Stefan Sehler, born 1958 and living in Berlin. He uses that side of the glass as picture carrier which is turned away from the beholder. Just like Simons devises a new kind of picture with the scanner, Sehler also reinvents the glass painting which is long-known since the first century Anno Domini by forgoing the light behind the application of the colour. Between concreteness and abstraction the painting as a visible medium dissolves. The newspaper ‘DIE WELT’ labeled his works ‘phantasmagorias’, because eyes and brain cannot grasp the levels of production. We see structures which are reminiscent of the surfaces of mars and moon or of complex constellations in celestial sphere. They are formations which visualize mountains grown out of clouds, but they are neither, or stylized plants in monochrome colours which appear three-dimensional and remind of old wallpapers.
Like Simons uses the computer for editing her pictorial templates, Sehler already avails of it while composing of his paintings. He develops digital patterns and transforms them into stencils which are glued on the reverse of the glass picture carrier. Into those stencils colour is being stroked, dripped and poured, the random course of the colours becomes a part of the concept.
Luzia Simons and Stefan Sehler: we can promise a more than exciting encounter.
06 Nov 2015
7 – 9 pm
The artists are present
for invited guests only
07 Nov – 18 Dec 2015
Tue – Fri 12 – 6 pm
+ by appointment