'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
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...
Office Baroque is pleased to present an exhibition of new work by DANIEL SINSEL.
This will be the artist's first solo exhibition at the gallery. Sinsel's minimal yet intricately detailed works reflect a focus on the nature of painting and sculpture and on the particular qualities and associations of the materials he uses. These materials carry meaning through their origins and historical resonances. Vellum –essentially animal skin- is either cut o woven to form columns and pipes.
Sinsel underscores the alchemy using one material as the basis for representing another material. His paintings are indebted to art history, working through its formal and iconographic developments. The canvases are small in scale and rendered using a crisp, firmly delineated style achieved through the traditional method of building up multiple layers of oil paint on prepared linen supports.
Sinsel's frequent use of trompe l'oeil celebrates skillfulness while always signaling the limits of representation. Peeking and trying to look under things, peering at cuts, punctures, slices and slits form part of the pleasure of looking at Sinsel's paintings. His sculptures feel preoccupied with spaces, forms and textures. These tactile pieces speak of craft-based methods of construction such as weaving, folding and sewing, through which states of rigidity and flaccidity are alluded to in various forms.
Despite the technical nature of their making, the result is human, sensual and anti-modernist in form. Sinsel's use of raw silk in creating a hand-woven seamless fabric sculpture inverts the notion of the canvas as support for the image, with the support becoming the subject itself.
Daniel Sinsel's fidelity to traditional pictorial genres rendered in oil on canvas, as well as his employment of age-old craft techniques in the fabrication of his objects (including metalworking, ceramics and casting) seems intent on making us aware of the time and labor invested in them. The work fascinates in how it is knowingly constructed against the contemporary quick-fire economy in which it also circulates.
Born in 1976 in Munich, Daniel Sinsel received his B.A. in painting from the Chelsea College of Art and Design, London, in 2002 and his M.F. in painting from the Royal College of Art in 2004.
Over the past years, Sinsel has been the subject of solo exhibitions, including the Chisenhale Gallery in London (2011); Galerie Micky Schubert, Berlin (2009); The Breeder, Athens (2008); Sadie Coles HQ, London (2009 & 2007) and Luisa Strina Sao Paulo (2006). His work was included in group exhibitions at Kaleidoscipe Project Space, Milan (2011); Galeria Franco Noero, Milan (2010); Jerwood Space, London (2010); Royal College of Art, London (2009); MoMA, New York (2009); Institute of Contemporary Arts, London (2007); Hauser & Wirth, Zürich (2005) and Andrea Rosen Gallery, New York (2004).
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