See Me - Touch Me

Peter Bogers (NL), Guillaume Bruère (F), Josephine Garbe (D), Benedikt Hipp (D)

February 26 - April 8, 2022

Josephine Garbe. Fuck off, 2019, photograph (detail)

About Josephine Garbe

The videos, photos, sculptures, installations, performances and sound works by the artist Josephine Garbe focus on the body, its transformation and interpersonal relationships. Proximity and distance are often experienced as an oscillating process between attraction and repulsion.

About Guillaume Bruere

In the run-up to the exhibition, Guillaume Bruère spent two days working with the homeless in the day-care center of the social services in Osnabrück. Ten portraits emerged from these encounters, which can be seen in the exhibition along with other works by the artist. With his work, Guillaume Bruère wants to help people who otherwise live more or less invisibly on the fringes of society to gain more visibility. “All portraits are a kind of homage to the portrayed. It's about catching a part of their personality – like delicate butterflies with a net.” (Guillaume Bruère)

We thank the team of the social services SKM gGmbH for the cooperation.

exhibition

Ambivalent psychological and physical states between attraction and repulsion, seduction, voyeurism and obsessive surveillance that literally come to grips with the individual by Peter Bogers, Josephine Garbe, Benedikt Hipp and others.

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In the third year of the corona pandemic, the art space hase29 is dedicated to the experience of closeness and distance, which has become a basic condition of society in a state of emergency. While the requirement for social distancing is often perceived as problematic because it has more or less dominated everyone's everyday life since the beginning of 2020, this exhibition aims to examine the tension between closeness and distance in different thematic contexts. To what extent do social codes of conduct and norms determine the relationship between closeness and distance in everyday life? Where are boundaries implied or made explicit for the benefit or disadvantage of individuals and society, and where are they crossed overtly or covertly? The exhibition presents the works of 4 artists who make very different levels of experience of closeness and distance tangible in an intensive way.

Events

Artist talk with Josephine Garbe and Guillaume Bruere

Thursday, March 31.03.2022, 19, 00:21 p.m. to 15:XNUMX p.m

In cooperation with the VHS Osnabrueck
Admission: €7/ reduced €5 (members of the art space hase29 have free entry)

Registration: mail@hase29.de

Participating artists

Peter BogersGlued Eye Room installation in the exhibition 'From Seeing To Acting', Looiersgracht60 Amsterdam Sept/Oct 2021

Peter Bogers (*1965 in Dordrecht, NL; lives in Amsterdam)

The first thing that catches the eye in the expansive installation “Glued Eye” is a large projection of obviously “found” video material from (police?) surveillance. The drone or helicopter cameras follow fleeing people in urban space.

Peter Bogers, Glued Eye, room installation in: 'From Seeing To Acting', Looiersgracht60 Amsterdam Sept/Oct 2021

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A luminous thread runs from the projection surface through the room, connecting in a line the projection surface (A) with the video projector (B) and a moving eye on a small screen on the opposite wall (C). The glowing line connects the “human eye” with the fugitive. What is amazing is that the thread remains inseparably connected to the people, despite the hectic movement of the image. The artist achieves the centering effect using a self-developed algorithm that fixes the camera image to one point and thus keeps the projection constantly moving. The pursued person is thus permanently in the focus of the observation machine, they are "hanging on the leash" of the imaging apparatus and the "seeing machine", the human eye.

With his spatial installation "Glued Eye" (fixed eye), Peter Bogers draws attention to various aspects of seeing and its technical means. On the one hand, media technology creates an obtrusive closeness that the observed object cannot escape. On the other hand, the eye remains at an immovable distance from the object, the fleeing. The artist addresses seeing as image processing, in that what is seen seems to follow the rules of the seer. Is it the eye of the beholder? Or of the ego, of society, of the system?

CV Peter Bogers

Peter Bogers, born 1956 in Dordrecht (NL), studied fine arts, specializing in sculpture, at the renowned Academy of St. Jost Brede (NL). He is considered one of the most well-known media artists in the Netherlands. His installations, videos and media works have been shown in numerous international group exhibitions and in solo exhibitions in Amsterdam, The Hague, Marseille, Osnabrück, Bremen, Stuttgart, Split, Beijing, Tokyo and Pittsburgh, among others.

Guillaume Bruère (*1976 in Châtellerault / Poitou in France, lives in Berlin)

Guillaume Bruère, Untitled (Selfportrait – my first white hair), May 11.5.2013, 240, 160 x XNUMX cm
drawing on paper

In addition to his sculptural and painterly work, the oeuvre of the French artist Guillaume Bruère includes a very extensive collection of highly virtuoso drawings. Regardless of whether he goes to the large collections of international museums to trace historical works there - in the tradition of the copyists - or whether he portrays living people, his individual style is characterized by intensive colors and vibrant lines.

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With a quick and at the same time masterly gesture, he captures what he sees and captures it on paper. In doing so, he spontaneously and intuitively adds various details and finally creates his own imaginative world of curious creatures somewhere between human and animal or between man and woman, some of which also have multiple legs or heads. But what can these artistic “mutations” be traced back to? Did the models of the large-format portraits simply move during the hour-long session, or are the inner worlds of the portrayed, clairvoyantly captured by the draftsman, revealed here?

The eye is a recurring motif in the works of Guillaume Bruère - as a kind of "gateway to the soul" it is an important mediator between the artist and his counterpart. Occasionally, however, the entire room is reflected in the eyeball, so that the perspective of the viewer is expanded and the gaze is thrown back at themselves. Who is actually looking at whom here? – During the corona pandemic, many people were forced to limit their encounters to those close to them. During this time, Bruère completed a series of portraits of his own family in a single day. Although he places each face on a separate piece of paper, the uniform style with sharp pencil outlines and lively watercolor coloring as well as the common framing clearly mark the portrayed as a cohesive group.

Portrait studies in the day apartment for the homeless

In the run-up to the exhibition, the "extreme draftsman" will work for two days in the day-to-day apartment for homeless people of the SKM gGmbH social services.

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The portrait drawings are presented in the exhibition in such a way that passers-by can also see them outside of opening hours, day and night. With his work, the artist wants to give people more visibility who otherwise live more or less invisibly on the fringes of society. “All portraits are a kind of homage to the portrayed. It's about catching a part of their personality – like delicate butterflies with a net.” (Guillaume Bruère)

We would like to thank the team of the social services SKM gGmbH and the editors "offside". The street newspaper for the homeless will report on artist Guillaume Bruère's campaign in one of the next issues.

CV Guillaume Bruere

Guillaume Bruere, born 1976 in Châtellerault/Poitou in France, lives in Berlin. He studied at the École des Beaux-Arts de Nantes and the École européenne supérieure de l'image in Poitiers. His works have been shown in numerous national and international exhibitions such as in the Kunsthaus Zurich in Switzerland, Picasso Museum Paris in France or in Martha Herford.

 

Josephine Garbe (*1991 in Berlin, lives in Lemgo / Düsseldorf)

Josephine Garbe, I'll show you, 2017, video: 33:47 min.

Josephine Garbe, NOW NOW NOW, 2022, dimensions variable, 10 embroidered linen towels

The videos, photos, sculptures, installations, performances and sound works by the artist Josephine Garbe focus on the body, its transformation and interpersonal relationships. Proximity and distance are often experienced as an oscillating process between attraction and repulsion.

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The viewer of the video “Zeig ich” (2017) encounters a grotesque counterpart: the artist’s clay-covered face appears deformed. Accompanied by strangely desperate sighs, this encounter evokes irritation: should we laugh at this bizarre masquerade or does the figure rather trigger our sympathy?

The repeated declaration of love in the sound installation "I wonder, wonder don't you?" (2020) also unexpectedly turns into its opposite. In its annoying urgency, the statement "I love you" finally reveals itself as an empty phrase. – With her embroidery on linen towels, the artist refers to the centuries-old Japanese tradition of woodcuts. The so-called "Ukiyo-e" (Eng. "Images of the Flowing World"), which were often printed on textiles in the past, show everyday scenes, including love scenes. By enlarging the outlines of a historical woodcut of two bodies engaged in lovemaking onto different cloths, the artist dissects the scene into various fragments. The original, erotic character of the motif only reveals itself again when you look at it intimately and carefully open the cloth.

CV Josephine Garbe

Josephine Garbe, Born in Berlin in 1991, lives and works in Cologne and Lemgo. She studied at the Braunschweig University of Art and at the Düsseldorf Art Academy. She is currently the winner of the Young Art Scholarship of the Old Hanseatic City of Lemgo and the Staff Foundation in Lemgo. Her work “NOW NOW NOW” was also created here.

Benedikt Hipp (*1977 in Munich, lives near Munich)

Benedikt Hipp, AEON, 2021, video loop, 12:42 min, video still, Courtesy: Monitor, Rome, Kadel Willborn, Düsseldorf, Benedikt Hipp
Production : German Academy Rome Villa Massimo, Rome IT

Sound collage with excerpts from the radio play "Hyperbolic bodies" Andrea Geissler.
composition and direction Ulrike Haage, Video sound montage: Sebastian Zwang 

Benedikt Hipp, AEON lw5, 2020, dimensions: 60 x 22 x 5 cm, ceramic, natural ash on flight glaze, photo: Max Reitmeier
Courtesy: Monitor, Rome, Kadel Willborn, Düsseldorf, Benedikt Hipp

A foot formed into an amulet, frozen in awkward movement, is much too big and heavy to be able to develop magical powers as a necklace. Nevertheless, Benedikt Hipps' ceramic sculptures, which are made in an open clay firing, evoke images of cult objects or votive offerings that represent a wish, a request or a thank you in spiritual contexts.

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In his search for the strange and the unexpected, Benedikt Hipp gives a lot of space to the open-ended process in his artistic exploration. The amorphous forms and surfaces made of clay reveal the process of their creation and thus refer to the becoming and passing away of the corporeal of earthly existence.

In his high-resolution video animation "AEON" (2021), the ceramics mutate into planets, which the viewer encounters in a virtual, interplanetary space journey in a new and strange way. In doing so, they perform a change of perspective in the exhibition when, coming from the close-up view of haptic ceramic surfaces, they allow themselves to be fascinated by the virtuoso filmed gliding flight. Sucked into the weightlessness of the orbit, the gaze is drawn from the singular and familiar to the great unknown. There, the individual object no longer stands for itself, but for a whole that appears to be unexplored in terms of its dimensions. The new constellation of interwoven objects creates new relationships and rules, the abolition of physical laws releases ideas and opens a view of fascinating free spaces and one's own location.

CV Benedict Hipp

Benedict Hipp born in Munich in 1977, lives and works in the Munich area. Since 2017 he has been a guest lecturer at the Zurich University of the Arts, ZHdK, in Switzerland. In 2020/21 he had a grant from Villa Massimo, Rome, in Italy, where the video and objects were created. His works have been shown in numerous national and international exhibitions such as the Schirn Kunsthalle in Frankfurt, the CAPC in Bordeaux and the Haus der Kunst in Munich.

“AEON” meets “Hyperbolic Bodies”

 

Sound collage with excerpts from the radio play "Hyperbolic Bodies" by Andrea Geißler.
Composition and direction Ulrike Haage.

On the occasion of the exhibition, Benedikt Hipp invited the radio play author Andrea Geißler to include excerpts from her play »Hyperbolic Bodies«. The video is thus expanded to a new level and makes the journey through the orbit imaginable as a flight through the curved, ever-changing space. Andrea Geißler's sound collage of texts and music (composition by Ulrike Haage) can be heard in the video room as independent acoustic recordings. The Radio play is in the SWR media library accessible.

A Kovalevskaya spinning top was constructed and set in motion for the radio play. 
Roundabout and photo: Philipp Fiedler

hyperbolic bodies

The two mathematicians Maryam Mirzakhani and Sofia Kovalevskaja dealt with the calculation and representation of irregular bodies. In the case of Sofia Kovalevskaja, it was a spinning top whose rotation follows a choreography of regular and irregular movements. The top has a changing shape, depending on the moment of rotation it is.

Maryam Mirzakhani found ways to calculate hyperbolic solids, irregular solids that can have holes and are located in hyperbolic space, a space with constant negative curvature.

In a mathematical utopia, the two mathematicians try to find a way to change the shape of our human bodies: what if we could become hyperbolic bodies? (Andrea Geissler)

CV Andrea Geissler

Andrea Geissler, born in 1986, is an author and radio editor at Hessischer Rundfunk. She writes prose, poetry and radio plays. In 2010 she was a prizewinner at the North-East Literature Prize. Her radio play debut »Hyperbolic Bodies« was awarded the audience prize at the ARD Hörspieltage 2020.

Sponsors

Participating artist

Peter Bogers (NL), Guillaume Bruère (F), Benedikt Hipp (D), Josephine Garbe (D)

 

Curators

Friederike Fast, Elisabeth Lumme, Hermann Noering

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