”Ogham” is an ancient Gaelic alphabet that Brian O’Doherty has been using since the 1960s. It serves as an ideal serial system that allows him to bring together minimalism, concept art and language. In his second exhibition in the gallery O'Doherty will be showing drawings and sculpture as well as a series of new paintings, many of which are based on Ogham.
Brian O’Doherty (*1928) lives and works in New York. His essay "Inside the White Cube" appeared in 1976. Until 2008 he worked as an artist under the pseudonym Patrick Ireland. In 2014 his latest novel, The Crossdresser's Secret, was published.
The opening reception will be held on Friday, 19 September 2014, 6-10 pm.
Sebastian Stumpf‘s video projections and photographs show casual actions that take place in public spaces. The motionless camera directs attention to architectural details of urban spaces defined by convention and privatization.
At the abc his latest video projection "Water basins" (2014) will be shown. The work shows representative water basins located in front of commercial buildings and office blocks in various European metropolises. Facing upwards in the water, a figure floats in an uncertain territory between self-abandonment and relaxation. Further information.
Sebastian Stumpf (*1980) lives in Leipzig and Berlin. Works of his have been recently shown at the Wilhelm-Hack-Museum, Ludwigshafen, the Kunsthalle im Lipsiusbau, Dresden and at the Contemporary Arts Center, Cincinnati, Ohio. He was awarded an EHF grant from the Konrad-Adenauer-Stiftung and in 2012 completed an art-in-architecture project for the Kulturstiftung des Bundes in Halle.
with works by Kasper Andreasen/Hanne Lippard, Friedemann Heckel, Cyrill Lachauer, Alexandra Leykauf, Kathrin Sonntag
Marcel Frey does well to transform everyday objects into art. Not just as a gesture that serves to demonstrate how even the slightest motion can throw our perception out of kilter. He also reactivates the historical partnership between culture and material production in our consciousness. In the tradition of bridging the gap between utilitarian and artistic object, Frey's works play their game. They force us to ponder where exactly the transformative forces are at work. In the way we handle the object? In how we view it? Or simply in the mannerism of the table legs? What is display? What is image?