Rosilene Luduvico (2004)
Anja Ciupka, Christian Forsen, Lucy Harvey, Seb Koberstädt, Robert Kraiss, Rosilene Luduvico, Martin Pfeifle, Constantin Wallhäuser
Instigated by the Kunsthalle Düsseldorf in 2003, Compilation II continues the series of exhibitions featuring younger positions in contemporary art. The exhibition Compilation II comprises the work of eight young artists to graduate from the Kunstakademie Düsseldorf in recent years: Anja Ciupka, Christian Forsen, Lucy Harvey, Seb Koberstädt, Robert Kraiss, Rosilene Luduvico, Martin Pfeifle und Constantin Wallhäuser.
Compilation II is a group project in which the artists from the fields of sculpture, installation, painting and drawing respond creatively to the architectural peculiarities of the Kunsthalle. The collision of differing positions opens up the space for common denominators, areas of crossover between disciplines and general speculative adventure, distinguishing itself thus from usual types of exhibition, namely themed group exhibitions or monographic presentations. The participating artists have been collaborating closely on site over the past few months in order to prepare new works, both for the group exhibition itself and for the specific and unique exhibition space afforded by the Kunsthalle.
Anja Ciupka (b. 1975) plays with space-defining signs and co-ordinates in her work. She transports outside space into exhibition situations with minimal use of appurtenance and in so doing causes consternation and bewilderment. She transforms the gallery in the Kunsthalle into a motor scooter track for the Compilation II exhibition. Christian Forsen (b. 1973) connects the high hall with the upper gallery by means of a wooden scaffold-constuction hovvering just above floor level and in so doing focuses upon the spatial configuration of the Kunsthalle. Graphic sculptures rest upon several sections of scaffolding and are reminiscent of organic bodily fragments. Lucy Harvey (b. 1967) embarks upon a search for evidence in the rooms of the Kunsthalle, opening up unaccustomed vistas and honing one's perceptions of the architectural environment. She utilizes the ceiling construction, translating it into an abstract pattern on the floor; she transfers the ventilation grills and their disfiguration through dirt traces into pencil drawings and in a video piece, she recharts the space along the building's shadow gaps. The artist organizes her works into a long-term project which she entitles »Guide to Life«. Seb Koberstädt (b. 1977) works with objects and installations connected with urban architecture and which engage with the properties and connotations of different materials. Seb Koberstädt seldom choses classical exhibition spaces to originate the works, but rather former supermarkets, parks, pedestrian precincts, etc. His intervention transforms the entrance of the Kunsthalle. Robert Kraiss (b. 1972), inspired by daily reading of newspapers, transfers the content of evocative media images into reduced drawings in graphite. In this way these graphic configurations do indeed allude to the original motifs, but they have been alienated somewhat by means of radical obliteration and omission. Diverse chains of association are engendered by the interpaly of represenationalism and abstraction. The painter Rosilene Luduvico (b. 1969) uses large-format canvases to depict forest-like landscapes in which the movement of nature is frozen for an instant and evokes intensely atmospheric situations. The fine contours which inhabit the foreground drift and diffuse into the soft colour transitions of the background. Naturalistic details merge into abstract surfaces and graphic elements. Martin Pfeifle (b. 1975) has originated an installation for Compilation II comprising a curved wooden construction which traverses the large windowed façade of the Kunsthalle's Seitenlichtsaal, leads through the wall into the foyer and from there penetrates the opposite wall, ultimately flowing into the high hall. This surprisingly light and easy intrusion into the architecture of the building plays both with the concept of the outer skin defining the space, as well as its proportions. Towering throne-like on a large pedestal in the high hall stands »Das Floß der Medusa« [The Raft of The Medusa] by Constantin Wallhäuser (b. 1975). This enormous model is inspired by Theodore Géricault's oil painting from 1819 of the same name, which depicts the plight of the crew of The Medusa shipwrecked off the coast of West Africa in 1816 and their rescue on a raft as it is tossed mercilessly at the whim of the elements. Just as in Géricault's painting before it, Wallhäuser's three dimensional rendering metaphorically queries the achievements of civilization when confronted by such a terrifying situation and the sheer untameable power of nature.
A book will accompany the exhibition published by Revolver, Archiv für aktuelle Kunst, Frankfurt am Main.
Press conference: Friday, 9 September 2005, 11 am
Opening: Friday, 9 September 2005, 7 pm
Opening times: Tue - Sat noon-7 pm, Sun & holidays 11 am-6 pm
In parallel at the Kunstverein für die Rheinlande und Westfalen: Marc Camille Chaimowicz