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opening the 3rd of april at the architekturhouse, Obere Herrengasse 8 at 7 pm and also at the vondoering contemporary, Im lindach 1.
The exhibitiontitle "l'inquietude du voile dans le temple". refers to Stephane Mallarme, the french poet and within to the symbolistic mouvement.
“The concern of the veil in the temple”
“The concern of the veil in the temple” is a quote from Stéphane Mallarmé whom one can find in “Crisis of worms” written in 1897. The thought the author displays around this sentence report the dully and “delightful” crisis which, at the time, shook the conventions of literature and poetry.
“The concern of the veil in the temple” is the title of a painting from Niels Trannois
who will not be present in the eponymous exhibition which he proposes at Von Döring Contemporary's space. What will be exhibited in the space are works produced before and after this painting, this show will then be displayed around an absence only visible through the echo of its title.
This work, all in periphery, are one of the keys of reading this work, art history, myths, poetry and anthropological literature are as many nebulas revolving around its practice. Sometimes, when attraction is slight, these references sink literally in his studio at a state of dust ; because before even the constitution of oneself as an artist, there is the constitution of a place: Niels Trannois works in a studio which seldom rests. Its work could be this attempt to integrate cultural parameters which are foreign to him and to draw a personal experience from it. While at the same time these intentions could be vague or precise, what's at stake here is the passages from a field to another, from a macrocosm to a microcosm. Between a ruin which tends to disappear and its fresh born ghost which attempts to emerge from it.
Following the example of this large painting on veil of silk, present in one of two spaces of the exhibition, having like a central point the interlacing, with the edge of a vault, of characters half man half animal taken from an etching of Hap Grieshaber, surrounded here by an architecture in decay. The materiality of the medium (silk) stretched in a space which it divides into two, plays again the haze of a "sfumato" enhanced by fabric additions with geometrical patterns which literally try to structure that which seems to be dedicated to a disappearance before our eyes. This deterioration of forms in space is also played out in another one of his paintings, on wood this time, “she pleasures herself” tackles the "non-finito" by using glazes of paint literally in order to reveal the forms by successions of thin oil layers. The figure, its representation and materiality create a tautology whose framework is as tight as the silk previously evoked or how the painting of a fountain seems to be made up of the water that it is tended to channel, in order to give the feeling of its own liquefaction…
The poetic that is at stake in the work of Niels Trannois does not take the representation as a breaking point , the matter here is about correspondence. What matters is the shift of the external referents to what we see, the materialities of the practice echoing these references: a tonality, a fabric, a silver foil, some marble powder, some oil, the knot of the wood. |
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