French gallerist Almine Rech-Picasso opened her first space in Asia on Shanghai's historic Bund in July this year, bringing her eponymous gallery's total locations to five. The Shanghai gallery occupies roughly 4,000 square feet on the second floor of the three-storey Amber Building, a beautiful warehouse space, originally occupied by the Central...
There's an inside joke amongst the team of Ashkal Alwan, The Lebanese Association for Plastic Arts: that every time an edition of its biennial forum on cultural practices is planned, a national crisis happens. The eighth edition of Home Works was no different: it opened on 17 October amidst the most devastating wildfires that Lebanon had witnessed...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
In his second solo exhibition Boo'd up at Galerie Christian Lethert, Henrik Eiben presents new drawings and sculptural wall works on two floors. The Hamburg based artist combines a wide variety of materials such as wood, metal, fabrics, glass and turns them into both minimalist and lively, moving compositions on paper, on the wall, and in the three- dimensional pictorial space.
The reduced drawings by Henrik Eiben are characterised by lightness and the joyful use of colour. This can also be found in the small-format wall drawings called Foundation Talk presented here for the first time. Partly mounted directly on the wall and combined with applications of wood, leather and copper the result is temporary, fragile works that slowly grope their way away from the wall and into the room. The basement, transformed into a small drawing cabinet, forms the starting point for approaching the concentrated formal vocabulary and artistic principles of the artist.
Stepping up the stairs to the ground floor, into the next dimension of Henrik Eiben's artistic oeuvre, it seems as if the lines and colours of the drawings had set themselves in motion, transforming into sculptural wall objects.
The three-dimensional wall works playfully liberate themselves from the construction of the wooden frame. While in the four-part work Arabesque Hop additional frames seem to step out of the picture plane, the works Boneshaker and Lightbreaker have an even more sculptural character. What they have in common, however, is the exploitation and expansion of the medium of painting. Instead of applying paint directly, Henrik Eiben uses fabrics and mouth-blown glass for his precise colour settings.
When the wall becomes an integral part of the new Foundation Talk drawings, the open forms of the sculptural works offer a wide variety of perspectives. Depending on the incidence of light, exciting plays of colour and shadow appear on the wall, which constantly change with the viewer's gaze. Henrik Eiben thus not only sets lines and colours in motion, but also our viewing habits: >>Biddy-da-dum, boo'd up<< (Ella Mai).
Henrik Eiben, born in Tokyo studied at the Academy of Visual Arts and Design, Enschede (1997 until 2002), the Maryland Institute College of Art in Baltimore (2001) as well as at the Staatlichen Akademie der Bildenden Künste, Karlsruhe under Silvia Bächli (2002 until 2004).
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