| | | | | | | | Luzia Simons
Stockage 179, 2019
Scannogramm
Digital Pigment Print / Hahnemühle Paper
177 x 122 cm / 181 x 126 cm
Edition: 5 + 1AP | | | | | | Stockage | | | | 13 November, 2020 – 30 January, 2021 | | | Opening days: Thursday, 12 November, 12 – 21 h
Friday, 13 November, 12 – 18 h | Saturday, 14 November, 12 ‐ 17 h | | | | | | | | | | | | | | | | Luzia Simons
Stockage 187, 2020
Scannogramm
Lightjet Print / Aludibond
142 x 200 cm
Edition: 6 | | | | | | "Stockage" is the first solo exhibiton by the artist Luzia Simons at Andreas Binder Gallery.
The title of the exhibition (engl.: storage) already clarifies, that her large-format floral still lifes are not solely a tribute to paintings of the baroque. Rather, the artist, who came from Brazil to Europe at the age of 23, deals - behind the aesthetic surface of her works - with central questions of identity as a socio-cultural construction and global awareness regarding cultural differences.
Between photography and painting, the obvious and cultural codes/patterns, the image it self and as a metaphor, she developed her own recording technique from 1995 onwards - the “scannogram”, where flowers and plants are scanned directly.
The peculiarity of this procedure is, that the gaze on the motif - unlike in photography - does not require a central point of view. Instead, the act of reproducing the visible takes place in a direct manner.
Once invented to digitalize documents, the scanner has neither lens nor focus. He only knows the juxtaposition, in which proximity means, that everything superficial is equally bright and detailed and everything that goes deeper is lost in the dark without perspective.
Objectively and unadorned, the scanner builds the image pixel by pixel, whereby - beside ideal forms of a blossoming beauty - defects, disturbances and the incipient inexorable decay become visible. The natural development of the flower becomes a symbol for the increasing globalization and all resulting questions about cultural identity.
Originally from the Orient, the tulip was once weighed in gold and thus developed into a status symbol. It was brought to Europe, modified by breeding in the Netherlands and finally returned home in new variations. The iconography of the flower as an artistic position, that combines photographic hyperrealism and metaphorical intent herewith becomes a symbol for cultural migration, intercultural exchange and the related creeping change in aesthetic meaning in the mirror of a global economy.
Furthermore, the exhibition will show works from the series "Lustgarten", which has been shown only once before in Europe, as well as a new tapestry. | | | | | | | | | Luzia Simons
Stockage 178, 2017
Scannogramm
Lightjet Print / Diasec
70 x 50 cm
Edition: 16 | | | | | | | Luzia Simons (* 1953 in Brazil) lives and works in Berlin. She graduated in Fine Arts at the Sorbonne University in Paris in 1986. National and international exhibitions since 1998 (selection): me Collectors Room, Stiftung Olbricht, Berlin, Germany / MOCAK, Kraków, Poland / AMC Art & Mind Center, Nagoya, Japan / Biennale De Mains De Maîtres, Luxemburg / Oscar Niemeyer Museum, Curitiba, Brazil / Museu de Arte Moderna de São Paulo, Brazil / Museen Dahlem, Berlin, Germany / Kunsthalle Emden, Germany / Tokyo Art Museum, Japan / Martin-Gropius-Bau, Berlin, Germany / Sanya Museum of Contemporary Art, Sanya, China / Archives Nationales de Paris, France, etc. | | | | | | | | | Luzia Simons
Stockage 188, 2020
Scannogramm
Lightjet Print / Aludibond
200 x 142 cm
Edition: 6 | | | | | | unsubscribe here
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