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The core marrow of Art
Date: Dec 17 , 2009 - Jan 30 , 2010
The theme of this group exhibition is to show the international state of the art at the end of 2009 through artists who have marked the year through very publicized exhibitions and events worldwide
Troels Wörsel
Date: Oct 8 , 2009 - Nov 30 , 2009
Biography Available works
Artist: Troels Wörsel
Troels Wörsel, born in Denmark in 1950, is self-taught and since the 1970s has exhibited both in Denmark and abroad. This was also when he moved to Munich and later Cologne. In Munich he was affiliated with the Academy and worked in a studio supplied by the BASF concern. In those years he was heavily influenced by the German art scene which was the rallying ground for ambitious, international artists. Since 1997 Wörsel has lived and worked in Pietrasanta in Italy.

In the 1970s he was interested mostly in Pop art and conceptual art. Moreover philosophical issues such as the relationship between space and time characterised his art.

In the early 1980s the purely painterly caught his interest more than the idea behind the work. He experimented with the wild painting and contributed to the pioneer exhibition Rundschau Deutschland and Bildwechsel at West Berlin's Akademie der Künste.

Since 1969 Wörsel has participated in a large number of exhibitions: Biennale de Paris (1975), Fyns Stifts Kunstmuseum (1979), Städtisches Kunstmuseum Bonn (1982), Visual Arts Museum in New York (1983), Malmö Konsthall (1987), Nordiskt Konstcentrum in Helsinki (1989), Kunsthallen Brandts Klædefabrik in Odense (1992, 1996), Kunstmuseet Trapholt in Kolding (1994), Musée des Beaux-Art de Nantes (1996), Sønderjyllands Kunstmuseum in Tønder (2000), Reykjavik Art Museum (2002), Victoria Miro in London (2002), Kunstforeningen GL Strand in Copenhagen, Sophienholm in Lyngby (2004), Nordiska Akvarellmuseet in Skärhamn (2006) and the 52. Venice Biennal (2007).

David Godbold
Date: Apr 23 , 2009 - May 30 , 2009
Biography Available works
Artist: David Godbold
For the past ten years or so David Godbold’s work has mainly concentrated on the critical examination of the production of visual imagery in high and low culture, alongside a semiotic, epistemological and personal investigation into culture and linear historicism.
The distinguished American art historian and philosopher David Carrier has recently written of Godbold’s work:

“Since Polke, Warhol and Lichtenstein, artists have been interested in how they can serve their own concerns by borrowing from mass art. Godbold’s drawings by contrast, mostly deal in intellectual culture. What is gained from popular culture is the idea that images and words can be profitably conjoined. Godbold’s art tends to be intellectually aggressive. Like a pupil who farts during the solemn graduation ceremony attended by well-dressed parents and visitors, he loves irreverence. And Like Baudelaire, whose Satanism captivates him, he is fascinated by, but also at the same time, disrespectful of Catholicism. As he has said: “Religion is a great (but explosive) vehicle for comedy!” Certainly religion makes a great subject for his art, which is to note that he responds to Catholicism in purely aesthetic terms. Very often he ‘comes off’ as a Catholic who has taken to reading Neitzsche.”

During a yearlong residency at the P.S.1. Institute for Contemporary Art in New York (1999-2000) Godbold began to make small drawings on tracing paper - styled somewhere between the work of the old masters and that of comic book ‘mass’ illustration - laid over found, humble and discarded materials. These have subsequently become central to his practice and are avidly collected. These quick, deft brush and ink drawings are complemented by typed texts that comment upon the business of the day-to-day living. It is often hard to find the definitive voice in Godbold’s works, one is never certain if it is the author speaking, the characters he creates or even an off-side narrator. Even if we can locate this successfully it is even harder to know when the expressed sentiments are genuine of deeply ironic. Alongside these small drawings Godbold makes large-scale programmatic wall drawing installations which are designed for particular geographic, political and architectural ‘landscapes’. All of Godbold’s practice, whilst frequently subversively funny, is simultaneously intended to be deadly serious.

Born in the U.K., and now living in Ireland, Godbold studied at Goldsmiths’ College, London (1981-4) and has completed a Ph.D. in fine art and visual culture at the National University of Ireland (2007). In 2005 Godbold was controversially selected to officially document the recent UK parliamentary elections in a series of drawings for the permanent collection of the House of Commons. After a protracted political struggle with the commissioning body, the work and a related publication was eventually released in November 2005. David Godbold’s work is represented by Kerlin Gallery, Dublin, and Galerie Bernd Klüser, Munich.
Andy Wauman
Date: Jan 8 , 2009 - Feb 19 , 2009
Artist: Andy Wauman
Within an upcoming movement of European young artists using the language of the social and commercial context they grew up in, with the so-called popular culture and media as basic ingredients, Andy Wauman’s feeling for materials and meaning is a marker. His use of photography and his sculptural treatment of unusual materials is unique.
Wauman’s works speak about the possibility of freedom. They are messages with a romantic sense for anarchy and love. In his statements, he often uses images that have been violated, multiplied and copied by commercial media. He recuperates common metaphors and symbols and gives them back their original romantic touch or even ideological meaning. The poetic quality is striking. Wauman’s work combines subdued social criticism with a slumbering mythical desire for eternal freedom.

Andy Wauman comments on the nature of his artistic personality:

“Generally my work has it’s origins in my conviction that a truly living culture can only arise from social structures and that the only theory a contemporary artist can feed on is necessarily a social one. I do not recycle existing forms, I try to make new ones based on my own background. Which is what distinguishes an artist from a marketeer. I try to inject the spontaneous energy from the street into my artistic practice, and I create my own contribution to the ‘revolution of everyday life’ in the shape of texts and objects.
Therefor, a recurrent element in my work is my protesting against cynicism and a preference for the sensuality and romantic value of the materials of the street, the ones the vagabond knows better than the bourgeois. But rather than a political activist, I like to call myself a poetical terrorist.

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