Clemence Seilles, Peggy Buth, Gareth Long, Florian Pugnaire & David Raffini, Adrian Sauer and Jean Baptiste Bernadet.
Berlin-Paris: TORRI chez/at Klemm's
JUN 29 – JUL 28, 2012

This year we will cooperate with TORRI from Paris and will open the jointly conceived exhibition MaterialTexture at our gallery on June 29th with works by Clemence Seilles, Peggy Buth, Gareth Long, Florian Pugnaire & David Raffini, Adrian Sauer and Jean Baptiste Bernadet.

Florian Pugnaire & David Raffini comprehend sculpture as a 'happening work' taking a blend of film, installation and sculpture as vantage point for their artistic approach. They chose specific objects that are then forced into a new form by means of technical impact; the documentation of this process again constitutes the vantage point fo their powerful, experimental videos.
Clemence Seilles current work is based on found material: she combines imitations of marble and stone from the hardware shop, plastics, remnants from construction sites and etc. to three-dimensional objects and assemblages. The newly developed form and puzzling aura of these basically profane materials raises the question of the actual being of a work, its environment and contextualization and in liaison how the human being is conditioned in his/her elaboration on art.
Peggy Buth examines in her work representation systems of art, literature, politics, history and sciences in regard to the aspect of what is superseded and what surfaces unintendedly.  There is no ‘innocent’ material for her: everything is connoted and can be reinterpreted and exploited according to any given context. In her 'carpet-piece' – a burnt and etched red carpet that is installed as frieze from top to bottom on the wall – exemplary scrutinizes meaning and connotations that are inherent to every material and that she reveals through her intensive working of the material’s surface.
Gareth Long takes as vantage point for his work text and literature, its formatting and forms of display as well as questions of reproduction, seriality and mass impact. He is interested in the process how the initial material 'text' is visually and cognitively perceived, sensed and passed on. Untitled (Stories) shows 4 books of J. D. Salinger’s paperback edition: title, name, editor, monograph and bar code are all carefully etched out so that only the iconic color stripes in the corner remain as hint to the author and the attached collective memory.
does not elaborate on verbal language but dedicated his work to another field of communication that becomes more and more important: the sources of the digital image. How is it composed in its smallest parts and how does it translate our visible, physical reality into ciphered and calculated images? His work from the series 16.77.216 Farben als Feuerwerk (16.777.216 colors as fireworks) shows the entire digitally depictable color space that materializes in images of firework taken from the Internet. Sauer has here literally atomized their originally color and tonal value and recalculated the abstract and random traces left by the fireworks on the sky.
Coincidence and abstraction are the essential elements in the painting of Jean Baptiste Bernadet. Following oftentimes an original idea within the image, he then provides space to the sinews of the actual painting process in order to react again to its results. Transferring, erasing and consciously blending different painting means and techniques is here an essential aspect. These different layers, levels and textures conflate on the canvas into a transitory non-linear narration.