Herbstrundgang Leipzig

from Saturday, September 21st, 2013 to Sunday, September 22nd, 2013

Herbstrundgang Leipzig
21 & 22 September 2013
Guest Gallery in the Werkschauhalle, Leipzig
Booth 1

Koen Delaere
Michael Kirkham

 

 

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Herbstrundgang Leipzig - Press release

Michael Kirkham Pale man on Chaisse-Longue 2013 Oil on canvas 100 x 150 cm.

Koen Delaere Untitles 2013 190 x 110 cm. Mixed media on canvas

Michael Kirkham Pale man on Chaisse-Longue 2013 Oil on canvas 100 x 150 cm.

Koen Delaere Untitles 2013 190 x 110 cm. Mixed media on canvas

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Herbstrundgang Leipzig

The work of Michael Kirkham (1971 Blackpool, GB) is noted for depicting solitary figures captured in provocative poses. The scenes are raw, relentless and uncompromising. In Kirkham’s paintings, carnal desire and the indulgence of the flesh is a mechanism that makes viewers feel uncomfortable. Nevertheless, Kirkham’s invariably meticulous and loving execution, his sincerity and all but cynical attitude, compels the viewer to look at his uncompromising scenes.
Michael Kirkham completed his formal training at the Glasgow School of Art and De Ateliers in Amsterdam. After graduating, he lived and worked in Brussels for three years before moving to Berlin in 2002. His work is represented in the collections of Gemeentemuseum The Hague, Centraal Museum in Utrecht and the Museum voor Moderne Kunst Arnhem. In 2009 Kirkham took part in the exhibition Diana + Actaeon, Der Verbotene Blick auf die Nacktheit in Museum Kunst Palast, Dusseldorf. In 2011 his work was included in exhibitions in Sweden and Norway, and he took part in the exhibition Zwei Sammler in the Dreitorhallen in Hamburg in the summer of 2012 his work was to be seen in the exhibition Eros & Thanatos in the Werkschau in Leipzig and in february 2013 he showed at Michael Haas Gallery in Berlin a catalogue was published for this occasion.

Koen Delaere does not paint in the traditional concept, but uses the color matter to create physical surface. Geometric scars and form alteration stemming from frictional force between surfaces that move to precise coordinates. Delaere often uses a method that portrays mirror surfaces of the paintings at the time a piece is created. Work is reflected one against the other, creating a dynamic in his work that signifies the generation of an incompatibility between the floor and surface, including the technical continuity of the painting, its layers within that seek to undo previous layers. The violence of the movement between two paintings scales the integrity that normally characterizes an image.
His approach to painting comes within reach of the performative moment of music. As in musical productions, it is in his works that one perceives a “live” performance. A spontaneity that is reflected throughout a concert. There is a randomness, an improvisation and a controlled chaos. We find traces of these elements in his paintings, as well as the freshness of a live performance. His works live on an extension of the present.
If on one part a dimension of speed and freshness is perceived, on the other we find a relationship between layers that recalls the ancient frescoes that over centuries have lost its layers to make way for others. Behind this informality, a profoundness of time is created. Behind the layers of paint lie other situations of color and other rationale that are at the base of his works. Delaere destroys to create other shapes. This precise notion to destroy in order to create gives a sense of historical depth. A situation in which to compare the minimalist works and geometry of Schoonhoven and Mondriaan with current pop art in Curacao or Los Angeles. In this way the artist manages to evoke forms of nature and colors of the contemporary metropolis in its chromatic explosions.

(From Lorenzo Benedetti’s Chromatic Explosion)

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