Laetitia Gendre – This is not Versailles
“Back in 1977, a New Mexico judge named Jack Love was reading the funny pages when he came across a Spider-Man comic strip, in which the nefarious Kingpin used a bracelet to track the wall crawler’s whereabouts.” (The Esquire, 2007)
This anecdote about the implementation of electronic tagging – though historically of little importance – illustrates the inextricable link between reality and fiction: a perfect point of departure for Laetitia Gendre, as the main focus of her work is to be found in the friction between the space of the image and the space of the real.
with works by Brian O’Doherty, Joachim Bandau, Kasper Andreasen, Cyrill Lachauer and Dirk Braeckman.
Joachim Bandau – Drawings and Wall Objects
In terms of their form, Joachim Bandau’s bunker drawings are both surprising and fascinating. Conceived as a “survival machine”, as both foxhole and firing range, the bunker in Bandau’s drawings is more than a prototype of instrumental architecture. It appears as a contradictory hybrid, archaic and yet modern. In reality a kind of fortification, Bandau’s bunkers are like sculptures with strange anthropomorphic features.
Kasper Andreasen, Louis Lüthi – The Preparator (Book launch and exhibition)
Book launch and exhibition
“The Preparator”, a collaboration between Kasper Andreasen and Louis Lüthi, takes as its starting point the painter Alexander Cozens’ publication “A New Method of Assisting the Invention in Drawing Original Compositions of Landscape” (1785). Set one morning in an empty gallery and told from the point of view of a man who installs exhibitions for a living, “The Preparator” combines text and image in a series of compact, associative tableaus, each revolving around a landscape: a title page, an eighteenth-century ink drawing, the network of cracks in a ceiling, a walk along the Rhine, a satellite photograph, Thomas Bernhard holding forth in a private garden, and others (Roma Publications).
The book launch is accompanied by an exhibition by Kasper Andreasen in the gallery’s corridor through 3 December 2016.