‘BLANKO’

Exhibition dates

Thursday 5 October to Friday 13 October
10:00 until 4:00pm, Monday to Friday

RMIT Melbourne
SITE EIGHT Gallery
Building 2, Level 2, Room 8, Bowen St (off La Trobe St)
Melbourne VIC 3000

  • Opening reception
    Wednesday 4 October
    5:00pm - 7:00pm

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Blanko examines ideas of entropy, not only as a process of disorder or randomness within everything, but also as the movement of energy continually in states of transformation. In devising this installation, Wolfgang Ellenrieder similarly reflects on the transitory nature of an art installation.
He considers entropy through images and representations of the natural world, but also the notion that through the presentation of complex visions that arise variously within the immersive experience of installation, we can also simultaneously reflect on the impermanence of that experience. As all things disperse within the natural world, the art installation eternally carries the notion of dissolution within it, eventually only ever residing impalpably, as a discursive set of remembrances.
Blanko explores ideas of dispersal and diffusion and the inexorable fleetingness of experience.

‘33’

1990 - 2023 / 33 JAAR
GALERIE VAN DEN BERGE
16. 9. - 28. 10. 2023

GALERIE VAN DEN BERGE
Tom van den Berge & Joyce van Elzakker
Albert Joachimikade 5 4461 BG
NL-Goes Nederland
tel.: +31 (0) 113 250499
www.galerievandenberge.nl
info@galerievandenberge.nl

  • Opening: 16. 9. 2023, 14:00 - 17:00

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‘Phantoms And Other Illussions’

KAI 10 | ARTHENA FOUNDATION, Düsseldorf
Opening 10. 2. 2023

Curator: Ludwig Seyfarth

  • Dove Allouche
    Echo Can Luo
    Ismaël Joffroy Chandoutis
    Alice Channer
    Wolfgang Ellenrieder
    Friederike Feldmann
    Anaïs Lelièvre
    Marge Monko
    Nedko Solakov
    David Zink Yi

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Visual deceptions, spatial illusions and suggestions of specific material qualities with completely different materials were already to be found in pictorial and sculptural representations of antiquity. In modern art, however, methods of illusion and deception were rather disapproved of. As Ernst H. Gombrich states in his book Art and Illusion (1960), the ability of craftsmen to imitate nature faithfully was no longer regarded as a genuine artistic quality. Only in the realm of surrealism was it used extensively, in order to make fictions and fantasy worlds appear real.
The penchant for illusion, however, would never be entirely suppressed. Even Conceptual Art, which is generally reluctant to employ lavish visual delights and still exerts its influence on the judgements of taste and art-theoretical discourses today, was interspersed with elements of illusionism. Besides, it would be almost absurd if artists today were not concerned with illusions – considering the increasing number of images and things around us that reveal less and less of how they came about and what degree of reality they possess. Like phantoms, they hover in the space between reality and fiction.
In the exhibition Phantoms and other Illusions, the play with an array of materials between naturalness and artificiality is juxtaposed with objects and installations that fictionalize our experience of space. The equally alluring and delusive promises of advertising and fashion are also questioned through artistic means. Not least, the different semantic layers underlying the concept of illusion are up for debate – including the psychological and political levels.