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Cezary Poniatowski & Sami Schlichting

Hereafter

06 09 2019 — 13 10 2019
Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019
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We apologies for the possible inconvenience of having dirty shoes after leaving the space. It´s the artists work, appreciate it; please. It nicely smells of rabbit cage and feels strangely cluttered, so we are happy. In the following, a loose string of allusions:

A description, which is somewhat unrelated to the show:

The French journalist Marie is surprised by a tsunami during her vacation. Miraculously, she survives. The young Marcus must witness how a beloved person is killed in a car accident. The American factory worker George is desperate because his gift of talking to people from beyond the world is a burden to him because he can not have a normal relationship.

[Google plot summary for Hereafter, 2011. 85% of the users liked this movie]

I am unpackingmy library. Yes, I am. The books are not yet on the shelves, not yet touched by the mild boredom of order. []Instead, I must ask you to join mydisorder of crates that have been wrenched open, t he air saturated with the dust of wood, the floor covered with torn paper, to join me among piles of volumes that are seeing daylight again after two years of darkness, so that you may be ready to share with me a bit of the mood. []Every passion borders on the chaotic, but the collector´s passion borders on the chaos of memories. More than that: the chance, the fate, that suffuse the past before my eyes are conspicuously present in the accustomedconfirmof these books.

[Excerpt: Benjamin, Walter: Ich packe meine Bibliothek aus, in: Walter Benjamin. Gesammelte Schriften, Suhrkamp, Berlin 1991]

Still: Poniatowski’s and Schlichting’s pieces feel like this plot, and most importantly, that there is also a car present. They are defragmented objects. In Poniatowski’s case they are covered in faux leather and headliner material, with air dugs, vents and other familiar moments, but with an unactivated function. For Schlichting we find his favored combination of clay and hay in amorphous structures which sit enthroned on plinths of a similar surface.

Since the beginning of the year the artists Cezary Poniatowski and Sami Schlichting are bouncing ideas about their works, their research and their ideas for our space back and forth. They finally settled on the process that is made accessible in ‘Hereafter’: a claustrophobic, estranged storage space-esque situation, in which the works seem to be in a state of flux; neither settled nor finished. The chaotic structure as a result of an artistic exchange, the unfinished appearance are key elements of the show, trying to push the ideas of the individual objects towards a time where they are neither artworks nor simple volumes in a storage compartment.


-Text by MÉLANGE, September 6, 2019

A project in collaboration with Lucas Hirsch (Düsseldorf) and Galeria Stereo (Warsaw).

Kindly supported by

 

 

Tramaine de Senna & Nicolás Lamas

MÉLANGE & Sabot @Loggia for Various Others, Munich

13 09 2019 — 13 10 2019
Tramaine de Senna & Nicolás Lamas, installation view, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Last step, 2019, car radiator, sneaker, mineral stone, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Last step, 2019, car radiator, sneaker, mineral stone, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Unsustainable forms, 2014, IKEA stool, scraped African sculpture, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Unsustainable forms, 2014, IKEA stool, scraped African sculpture, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Coming Downhill, Shooting The Wounded, 2018, epoxy clay, electric wiring, led bulb, and cardboard, 34 x 146 x 34 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Coming Downhill, Shooting The Wounded, 2018, epoxy clay, electric wiring, led bulb, and cardboard, 34 x 146 x 34 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna & Nicolás Lamas, installation view, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, VOM - Vague Object Motif, Ruby Red Series;  Object No 2, 2013, hand-polished crystal clear resin with red 	dyemeranti pedestal, led bulb, and electrical wiring, 14,6 x 18 x 34,7 cm (object), 31 x 100 x 45 cm (pedestal), Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, VOM - Vague Object Motif, Ruby Red Series;  Object No 2, 2013, hand-polished crystal clear resin with red 	dyemeranti pedestal, led bulb, and electrical wiring, 14,6 x 18 x 34,7 cm (object), 31 x 100 x 45 cm (pedestal), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Circulation, 2019, sneaker, hay, disabled desktop pc), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Circulation, 2019, sneaker, hay, disabled desktop pc), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Soft Sculpture, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Synthesis of a Deer, 2014, IKEA towel structure, deer fur, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, El Presidente, 2018, satin, faux animal skin, metallic/ hologram 	fabric, foam batting, buttons, impregnated wood, rope, 120 x 185 x 3,5 cm (without feet), Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, What is happening to my skin, 2018, broken computer screen, wall hooks, 59 x 32 cm, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, What is happening to my skin, 2018, broken computer screen, wall hooks, 59 x 32 cm, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Digital Erosion, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Nicolás Lamas, Digital Erosion, 2014, archival print, IKEA aluminium frame, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019Tramaine de Senna, Devo-lution, 2017, paint, paper, and cardboard, 31 x 23 x 0,7 cm, Mélange and Sabot at Loggia, Munich 2019
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How to compare the incomparable? Or rather, why? Our way of understanding is used to seek out a safe ground, relying on unambiguous narratives that account for everything. As we would listen to a good story, it allows the listener to rest. Putting things together, that sort of look alike, but may or may not...

Cezary Poniatowski & Sami Schlichting

Hereafter

06 09 2019 — 13 10 2019
Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019Installation view, Hereafter, MÉLANGE 2019
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We apologies for the possible inconvenience of having dirty shoes after leaving the space. It´s the artists work, appreciate it; please. It nicely smells of rabbit cage and feels strangely cluttered, so we are happy. In the following, a loose string of allusions: A description, which is somewhat unrelated to the show: The French journalist...