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This category contains the following articles
- Ways of Seeing Abstraction: Fabian Marti, Untitled, 2011
- Back in Town - Frieze New York Launched in New Format
- Tate Britain - Lynette Yiadom-Boakye: Fly In League With The Night
- Ways of Seeing Abstraction: Jo�o Maria Gusm�o + Pedro Paiva
- Museum f�r Fotografie - America 1970s/80s: Hofer, Metzner, Meyerowitz, Newton
- Ways of Seeing Abstraction: Beat Zoderer, Polygon I-VI, 2019
- Ways of Seeing Abstraction: Yto Barrada, Autocar - Tangier, 2004
- Schirn Kunsthalle Frankfurt - Gilbert & George: The Great Exhibition
- Sammlung Goetz at Haus der Kunst - Cyrill Lachauer. I am not sea, I am not land
- Kunsthalle Z�rich - Pati Hill: Something other than either
- Ways of Seeing Abstraction: Karla Knight, Spaceship Note (The Fantastic Universe), 2020
- ICA Boston - "i�m yours: Encounters with Art in Our Times"
- Ways of Seeing Abstraction: Lada Nakonechna, Merge Visible. Composition No. 45, 2016
- Tel Aviv Museum of Art - "Desktop: Artists During COVID-19"
- Ways of Seeing Abstraction: Tobias Rehberger, Ohne Titel, 2000
- Deutsche Bank Collection Live - Meet the Artist
- New Museum - "Grief and Grievance: Art and Mourning in America"
- Painter. Rebel. Teacher. - K.H. H�dicke at the PalaisPopulaire
Ways of Seeing Abstraction:
Phillip Zaiser, Testbild, 2000
Most
people still understand abstraction as a concentration on form. It is
viewed as an art movement which is used to express aesthetic ideas,
orders, philosophical ideas or inner feelings, but which does not have
much to do with everyday reality. However, especially in times marked
by crises, relevance and urgency are also expected from art, and it is
expected to make a statement on current social issues. Today, artistic
commitment is not conveyed exclusively through clear visual messages
and content, but increasingly through abstraction. For younger
generations, in particular, non-representational art is the means of
choice for addressing politics, religion, and social issues. Showcasing
works from the Deutsche Bank Collection, the exhibition “Ways of Seeing
Abstraction” at the PalaisPopulaire undertakes a thoroughly subjective
survey of international abstraction from postwar modernism to the
recent present, documenting the diversity and discursivity that lie
behind the idea of non-objective, “pure” form. On the occasion of the
exhibition, our series will show you works by artists who use
abstraction idiosyncratically and define it in new ways.
Phillip Zaiser, Testbild, 2000
� Galerie Perp�tuel, Frankfurt am Main
After television stations signed off for the day, test images used to flicker across millions of TV screens. With the help of these graphic compositions of colored and black-and-white bars it was possible to improve TV reception via antenna. These patterns were probably the most present abstract images worldwide, but the triumphal march of cable television and 24-hour programming made them obsolete. In 1997 a broadcaster switched off the country's final test pattern in Germany.
Phillip Zaiser's watercolor, painted three years later, is a reminder of how quickly technical developments can make something disappear that was once ubiquitous. Zaiser, who studied with Georg Herold and Thomas Bayrle, develops his installations of paintings, pieces, and found objects into scene-like spaces in which he addresses fairy tales, pop culture, and his own lives, as well as formal and sculptural questions. He constructs gigantic cuddly animals out of wood waste and investigates male-dominated "worlds" such as Western films, motocross circuits, and bourgeois studies. The test pattern during the station break is an homage to old West Germany and at the same time an intermission in Zaiser's art production, devoid of content or object, bereft of entertainment, geometrically abstract yet entirely commonplace.