3.09.—8.10.18
Group Exhibition
Ghost

3.09.—8.10.18
Group Exhibition
Ghost

3.09.—8.10.18
Group Exhibition
Ghost

3.09.—8.10.18
Group Exhibition
Ghost

3.09.—8.10.18
Group Exhibition
Ghost

Vivian Greven & Natascha Schmitten

Vivian Greven & Natascha Schmitten

Vivian Greven & Natascha Schmitten

Vivian Greven & Natascha Schmitten

Vivian Greven & Natascha Schmitten

With the exhibition Ghost by Vivian Greven & Natascha Schmitten SETAREH opens a third art space. Ghost reveals a mysterious simultaneity between materiality and immateriality, opacity and transparency, reality and artificiality, above which hovers a hint of playful lightness and sensual grace.

Vivian Greven (b. 1985) dips the pure human face as a portrait, nude or eerie textile figure into a painting made of old-masterly hues and pictorial spaces, in which the porous surface of the canvas enters into a connection with the oil-colored skin of the figures and creates a subtle materiality. Greven also draws on art-historical masterpieces, which she translates from marble sculpture into painting, as in Giovanni Lorenzo Bernini's Rapture of St. Theresa, for example, 

With the exhibition Ghost by Vivian Greven & Natascha Schmitten SETAREH opens a third art space. Ghost reveals a mysterious simultaneity between materiality and immateriality, opacity and transparency, reality and artificiality, above which hovers a hint of playful lightness and sensual grace.

Vivian Greven (b. 1985) dips the pure human face as a portrait, nude or eerie textile figure into a painting made of old-masterly hues and pictorial spaces, in which the porous surface of the canvas enters into a connection with the oil-colored skin of the figures and creates a subtle materiality. Greven also draws on art-historical masterpieces, which she translates from marble sculpture into painting, as in Giovanni Lorenzo Bernini's Rapture of St. Theresa, for example, 

With the exhibition Ghost by Vivian Greven & Natascha Schmitten SETAREH opens a third art space. Ghost reveals a mysterious simultaneity between materiality and immateriality, opacity and transparency, reality and artificiality, above which hovers a hint of playful lightness and sensual grace.

Vivian Greven (b. 1985) dips the pure human face as a portrait, nude or eerie textile figure into a painting made of old-masterly hues and pictorial spaces, in which the porous surface of the canvas enters into a connection with the oil-colored skin of the figures and creates a subtle materiality. Greven also draws on art-historical masterpieces, which she translates from marble sculpture into painting, as in Giovanni Lorenzo Bernini's Rapture of St. Theresa, for example, 

With the exhibition Ghost by Vivian Greven & Natascha Schmitten SETAREH opens a third art space. Ghost reveals a mysterious simultaneity between materiality and immateriality, opacity and transparency, reality and artificiality, above which hovers a hint of playful lightness and sensual grace.

Vivian Greven (b. 1985) dips the pure human face as a portrait, nude or eerie textile figure into a painting made of old-masterly hues and pictorial spaces, in which the porous surface of the canvas enters into a connection with the oil-colored skin of the figures and creates a subtle materiality. Greven also draws on art-historical masterpieces, which she translates from marble sculpture into painting, as in Giovanni Lorenzo Bernini's Rapture of St. Theresa, for example, 

With the exhibition Ghost by Vivian Greven & Natascha Schmitten SETAREH opens a third art space. Ghost reveals a mysterious simultaneity between materiality and immateriality, opacity and transparency, reality and artificiality, above which hovers a hint of playful lightness and sensual grace.

Vivian Greven (b. 1985) dips the pure human face as a portrait, nude or eerie textile figure into a painting made of old-masterly hues and pictorial spaces, in which the porous surface of the canvas enters into a connection with the oil-colored skin of the figures and creates a subtle materiality. Greven also draws on art-historical masterpieces, which she translates from marble sculpture into painting, as in Giovanni Lorenzo Bernini's Rapture of St. Theresa, for example, 

and highlights only the section that is essential to her: The ecstatic impotence of Theresa through the overwhelming appearance of the angel.

Natascha Schmitten (*1986) wraps her fragmentary pictorial spaces in a mysterious triad of transparent and opaque colors, indeterminable light sources, and abstract forms on nylon. The surface appears matt and at the same time porcelain-like, smooth like a delicate, fine-pored skin that breathes with life, stretched out on the stretcher frame and becomes a skeleton of painting. The starting point is the representational, which Schmitten translates into light spaces and partially mirrored dissolves into abstract form elements, thus silently releasing into unrecognizability.

 

I SEE, I AM seeks to recognize artists working to shape Iran’s canon of video art. This exhibition is a product of focused research on artists who use video to demonstrate a concrete artistic individuality. The exhibition focuses three women whose works serve to illuminate patterns, changes and developments in Iranian contemporary video art. The videos further introduce character that is independent from cinema and other art genres. The artists works are not culturally explicit, but conjure cross-cultural themes.

The exhibition features a selection of video works, that are on view in the show IN-BETWEEN (Part II): SO FAR at the museum Mana Contemporary, New Jersey, since October 2017– Karimi´s second exhibition there that provides an overview of contemporary art from Iran.

I SEE, I AM seeks to recognize artists working to shape Iran’s canon of video art. This exhibition is a product of focused research on artists who use video to demonstrate a concrete artistic individuality. The exhibition focuses three women whose works serve to illuminate patterns, changes and developments in Iranian contemporary video art. The videos further introduce character that is independent from cinema and other art genres. The artists works are not culturally explicit, but conjure cross-cultural themes.

The exhibition features a selection of video works, that are on view in the show IN-BETWEEN (Part II): SO FAR at the museum Mana Contemporary, New Jersey, since October 2017– Karimi´s second exhibition there that provides an overview of contemporary art from Iran.

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