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Jonathan Monk

Name Used To Fill Space

09 11 2017 — 14 01 2018
Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017
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The name used to fill the space of MÉLANGE is not only a title but also a quite literate expression in case of Jonathan Monks solo show. Monk, who is known for his constant spin-off of contemporary art works and already “historic” pieces of conceptual art, loves to play with the pre-sets introduced by other artists. The art of appropriation is definitely linked to his ouvre he constantly pushes the boundaries set by our idea of what has been appropriated and why. While he never uses a simple copy, his work shows the humours and maybe even silly side of a minimalistic, conceptual approach and reminds us to rethink and reinterpret those artists. This intensive play with a referencing system, something that is held dear by many contemporary productions, not only in art but currently very popular in TV-Series and Movies. The wittiness of the educated and synchronised being mirrored back to them, making them realise where they stand in society or within their own peers. This notion, while not necessarily political, constantly challenges ones perception and point of view in a very privileged society and asks for a projection of what could happen next. His quotes are takes on our consumerism reflected in art and daily life.

The neon piece presented at MÉLANGE works in a very similar way. When the space is filled with the light it emits, the next step is to fill the head of the people with ideas on what this name means to them. We are left with the realisation that we are incapable of knowing it all. We know the person, we know snippets of gossip but we are left puzzled of what the connection might be. There is no adequate way of understanding the work per se. We can approach Monk’s piece from a very academic point of view, based on the introduction of the neon as part of conceptual art in the 1960s, but what interesting take does that give us that we might not already know. Would it add something valid? And where would be the fun in that? On the other hand we have the speculative information that comes along with the name used to fill the space. Why has it been chosen? Which connection might be foregrounded? Is there any?

We leave those speculations to you and give you some more information on the artist life to help you speculate even more of what might be important, and what not:

Jonathan Monk was born on a Sunday in the Month of February 1969 in Leicester. The royal weather institute called it a very cold month with heavy snowfall throughout all of Scotland, Midlands and England. Only three days after his birth, the small town of Kirkwall, witnessed the strongest winds ever recorded in the Scottish realm (138 mph), a sign of an unusual weather that tormented the northern half of the hemisphere throughout the winter. The health department declared that the water in the area of Leicester was bacteriologically satisfactory for drinking purposes. He was born the same day that Yasser Arafat in Cairo got appointed the chairman of the Palestine Liberation Organization and just a few weeks before the Church of Scotland ordinated its first female minister, 66 year old Catherine McConnachie. It was the year that the voting age in the United Kingdom was lowered to 18 and the death penalty gets formerly abolished. Days later Jaguar released its infamous XJ6 convertible, which would move on to win the Car of the year award. Around the same time as his birth a meteorite headed towards earth, the so-called Allende meteorite reaches earths atmosphere on Saturday, shattering into pieces and scattering across the Mexican state of Chihuanua. Boeing launched its maiden voyage of the 747 just one day after, followed by the first test flights of the super sonic passenger plain Concorde. He was born in the year that humanity reached for the stars, and after Yoko Ono and John Lennon finally married, Apollo 11 was able to land on the moon. The US government realized the impossibilities it was facing in Vietnam and started to withdraw troops and enter secret peace negotiations. At the same time Scooby Do, as well as Monty Phyton’s flying circus had there first appearance on public television, while Led Zepplin was “Dazed and Confused” when they were covering Jake Holmes at the De Montfort Hall in Leicester in the month of March.

In a different part on the planet Sülyeman Demirel becomes the Prime minister of Turkey, a position he would hold for six legislation periods and his reign would continue until the military coup in 1980. The “International Labour Organisation” receives the Nobel Peace Prize and in Cologne Wolf Vostel casts his Opel Kapitän into concrete and left the chunk of stone sit in the parking lot in front of his gallery, occupying a slot over the next years. It is the last year of the “Kunstmarkt Köln”, the world first Art Fair, the gamete of the current art world-art fair craze, with pieces that would range between 20,00-60.000,00 DM and before it would change its name for the first time. Art for everyone was maybe still available and a valid idea. And finally, it was the moment when conceptual art entered the system on a full scope, introducing a new generation of artist, mainly male, to a wider public.

His Chinese zodiac is the Earth Monkey, same as people born in 1908, which are known for building great fortune out of nothing and is playful, while hiding his opinion beneath apparent friendliness. This adaptable and versatile zodiac sign is considered to be extremely intelligent and ability to pull the wool over people’s exes.

The City of Leicester Polytechnic, where Monk would go to study, was the result of the Colleges of Art and Technology to merging and looking back at nearly 100 years of existing. It would merge again, and change its name, ones Monk would be done with his studies there, but this is a different story to tell.

So what can we make of all of this information that has been put forward for this show? All details are historical facts, hovering around the date of birth of the artist. Our names, our standing within our own time, are always connected to nature and issues larger then life. The person becomes a historical signifier, by which it is interwoven with history, no matter if she/he was “a relevant figure in her/his on field” or just an ordinary person, by simply having a name and existence. This leaves us with the question, each of us has to answer for ourselves: What are we looking at? A Name? A Story? An Idea? A Space? Or just a way of filling the space with expectations?

Cheers to that!

 

Kindly supported by

 

 

The invitation of Jonathan Monk was inspired by talks with Ibrahim Öztas.

Jonathan Monk

Name Used To Fill Space

09 11 2017 — 14 01 2018
Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017Jonathan Monk: Name Used to Fill Space, 2017, ten neon letters, various sizes, installation view, MÉLANGE 2017
Enlarge

The name used to fill the space of MÉLANGE is not only a title but also a quite literate expression in case of Jonathan Monks solo show. Monk, who is known for his constant spin-off of contemporary art works and already “historic” pieces of conceptual art, loves to play with the pre-sets introduced by other...

Paul Czerlitzki & Eva Vuillemin

Liaison

12 10 2017 — 05 11 2017
Liaison, installation view, MÉLANGE 2017Liaison, installation view, MÉLANGE 2017Liaison, installation view, MÉLANGE 2017Eva Vuillemin, Untitled, 2017, digital print on fabric, each 60 x 90 cm, installation view, MÉLANGE 2017Paul Czerlitzki, Untitled, 2017, digital print, carpet, 200 x 300 cm. (on top) Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Paul Czerlitzki, Untitled, 2017, digital print, carpet, 200 x 300 cm. (on top) Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Liaison, installation view, MÉLANGE 2017Paul Czerlitzki, Untitled, 2017, digital print, carpet, 200 x 300 cm. (on top) Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, (left) Mollusca, 2016, HD Video, 7'11Eva Vuillemin, (left) Mollusca, 2016, HD Video, 7'11Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Eva Vuillemin, (left) Mollusca, 2016, HD Video, 7'11Eva Vuillemin, Zungen / Slug (With Mouth Agape Laughing Guts Out), 2016, silicon, foam, variable dim., installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, detail, pigment on canvas, 210 x 220 cm. Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017Eva Vuillemin, Zungenlampe, 2017, silicon, LED, wire, dim. variable, installation view, MÉLANGE 2017Eva Vuillemin, Zungenlampe, 2017, silicon, LED, wire, dim. variable, installation view, MÉLANGE 2017Paul Czerlitzki, Anna, 2015, pigment on canvas, 210 x 220 cm, installation view, MÉLANGE 2017
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Let me try start with not to set an artificial mood or defining the word “liaison”. Let us just take in the show for a moment. Breath in. Breath out. Continue. Step back. Close your eyes. I originally wanted to start of with a Friday afternoon in a remote and rather sad café, close to...

Secession

Book Launch & Performance Night

07 10 2017 — 08 10 2017
Artist Arjan Jarry at his Cologne flat, October 2017Impressions from, Mélange Secession, King Georg, October 2017
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Book Launch & Performance night @King Georg with Ani Schulze, Inga Danysz, Alfons Knogl, Arjan Jarry & Tammo Lünemann Program: 9 pm Reading by Ani Schulze & Inga Danysz 9.30 pm Reading by Tammo Lünemann 10 pm Lecture lecture and performance performance by Arjan Jarry 10.30 pm Performance by Alfons Knogl with Mia Boysen &...

Mother’s Tongue and Father’s Mouth

curated by 2017, Unttld Contemporary, Vienna

15 09 2017 — 14 10 2017
Raphaela Vogel, intervention on gallery front, digital print on vinyl, approx 500 x 280 cm, Unttld Contemorary, 2017Paul Sochacki: Spoken World, 2013, video, 8 min 3 sec, installation view, Unttld Contemporary, 2017Installation view, Unttld Contemporary, 2017Paul Sochacki: Untitled, 2016, 90 x 70 cm, installation view, Unttld Contemporary, 2017Karl Holmqvist, installation view, Unttld Contemporary, 2017Karl Holmqvist, installation view, Unttld Contemporary, 2017Karl Holmqvist, Untitled (#JAJANEINNEIN), print on canvas, 180 x 180 cm, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Raphaela Vogel: Collision, 2014, video, projector, speakers, rusted metal scale, installation view, Unttld Contemporary, 2017Installation view, Unttld Contemporary 2017.Paul Sochacki: Tender Walls, 2012, oil on canvas, 115 x 90 cm, installation view, Unttld Contemporary, 2017Paul Sochacki, installation view, Unttld Contemporary, 2017Lina Hermsdorf: A Biologically Immortal Living Being Can Still Die, 2016, (Detail), 19 documents, each 30 x 40 cm, installation view, Unttld Contemporary, 2017Paul Sochacki, installation view, Unttld Contemporary, 2017Raphaela Vogel, intervention on gallery front, digital print on vinyl, approx 500 x 280 cm, Unttld Contemorary, 2017
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with works by: Lina Hermsdorf, Karl Holmqvist, Daniel Keller, Klaus Lutz, Paul Sochacki & Raphaela Vogel Perfromances: 14.9., Lina Hermsdorf 6.10., Daniel Keller “The relation between now and tomorrow, between the present state of the world and the future state of the world is not necessary (that is, necessitated). The present does not contain the...

Joachim Coucke

Strength in Numbers

07 09 2017 — 01 10 2017
Installation view, MÉLANGE 2017Installation view, MÉLANGE 2017Containing the Future — Engineered moments of approval, 2017Containing the Future — Engineered moments of approval, 2017Containing the Future — Engineered moments of approval, 2017Frequently Answered Questions — Growth, 2017 __ Containing the Future — Door to the mind, 2017 Frequently Answered Questions — Growth, 2017Frequently Answered Questions — Growth, 2017Containing the Future — Door to the mind, 2017Containing the Future — Door to the mind, 2017Frequently Answered Questions — Column 2017Frequently Answered Questions — Column 2017Installation view, MÉLANGE 2017Frequently Answered Questions — Column II 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017Strength in Numbers, 2017
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The prospect of A.I. and the many fortunes it will bring humanity, is seemingly driven by the unshakeable faith that is deeply rooted far beyond it’s Silicon Valley headquarters. Harmony and prosperity is believed to relinquish our burdens of daily routines. The possibility of choices cause distress in the terms of this techno-cult. Freedom is...

Xavier Mary & Eva L’Hoest

We have the same Scale

23 06 2017 — 26 08 2017
 Xavier Mary We have the same Scales, 2017 aluminium cast, installation view, MÉLANGE 2017 Xavier Mary We have the same Scales, 2017 aluminium cast, detail view, MÉLANGE 2017Eva L’Hoest Backface Culling, 2017 hand carved 3D Print, wood, 28 x 25 cm, installation view, MÉLANGE 2017Eva L'Hoest, installation view, MÉLANGE 2017Xavier Mary, installation view, MÉLANGE 2017Eva L’Hoest Biometric Spine, 2017 Metal, printed glass, dimensions variable, installation view, MÉLANGE 2017Eva L’Hoest Biometric Spine, 2017 Metal, printed glass, dimensions variable, detail view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L'Hoest & Xavier Mary, Forbidden Edges, 2017, installation view, MÉLANGE 2017Eva L’Hoest Laminaires Digitée, 2017 hand carved 3D Print, wood, 25 x 35 cm, installation view, MÉLANGE 2017Eva L’Hoest Laminaires Digitée, 2017 hand carved 3D Print, wood, 25 x 35 cm, detail view, MÉLANGE 2017Eva L’Hoest Les mêmes Écailles, 2017 hand carved 3D Print, wood, 25 x 35 cm, installation view, MÉLANGE 2017Eva L’Hoest Les mêmes Écailles, 2017 hand carved 3D Print, wood, 25 x 35 cm, detail view, MÉLANGE 2017
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Is it not, that we are all somehow connected through the same… yeah, what? Thoughts? Desires? Mindsets? Beliefs? Or through our DNA? If not anything else, it is the biology of the body that somehow defines our basic nature as a whole. Yet, despite the mutual molecular structure, there is something involved that separates us,...

Daniel Koniusz / Talisa Lallai

curated by Wschód Gallery

12 05 2017 — 04 06 2017
Daniel Koniusz, Untitled 004 (DA), 2017 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz, Untitled 004 (DA), 2017 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017Talisa Lallai Identical dream, 2017  42 x 32 cm Inkjet print MÉLANGE 2017Talisa Lallai Identical dream, 2017  42 x 32 cm Inkjet print MÉLANGE 2017Talisa Lallai Untitled (Staghorn sumac), 2015  26,5 x 26,3 cm Polaroid MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017Daniel Koniusz, Untitled 004 (DA), 2017, 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz, Untitled 004 (DA), 2017, 40x60 cm Marble, polyvinyl chloride MÉLANGE 2017Daniel Koniusz / Talisa Lallai - Installation View MÉLANGE 2017
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Daniel Koniusz / Talisa Lallai Different notions of nature appear throughout the works by Koniusz and Lallai that evoke a certain atmosphere of condensed tranquility. Thru their constellation of interacting embracement a shared prospect for history becomes evident, possibly reminding of the romanticized idea of the idyll, developed in the Greek-Romanic antique. Taking place in...

Edition

BOX TWO

08 05 2017 — 08 05 2017

MÉLANGE is proud to publish its second edition box with works by 13 Artist that were part of the second year of programming. The presentation will be curated by Hard-Core. Participating Artists: ATLAS ECONOMY, Amy BALL, Alexander BORNSCHEIN, Zuzanna CZEBATUL, Christophe DE ROHAN-CHABOT, DCTHK, Henning FEHR & Philipp RÜHR, HARD-CORE, Melike KARA, Daniel KISS, Klaus...

Stefano Calligaro

U reallyWnna ClimbThStairkaseOfSUccess MuffnLicker?!

06 04 2017 — 30 04 2017
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MÉLANGE is puzzled and happy to host Stefano Calligaro´s (*1976 Cividale del Friuli, Italy, based in Cluj-Napoca, Romania) first solo show in Cologne. Why do we need to make things, build things, fill our rooms with things when we have paper and pockets? I’ve always been skeptical about art: Objects piling; parasites subletting our little...

Zuzanna Czebatul

Away

10 03 2017 — 02 04 2017
Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul - Away, installation view, Melange 2017Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable. Zuzanna Czebatul, Shore of Abundance, 2017, plexi, paint, dimensions variable.
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Enduring this exhausting voyage over a hostile ocean, seeking what they thought to be lost forever, why was it this archipelago they arrived to? For they have left everything behind, never to return, escaping from this tremendous insanity. They only wished for a life in harmony, something that once might be called humanity again. As...

Klaus Kleine

Elephant in the Dark

26 01 2017 — 28 02 2017
Klaus Kleine: facade 1, 2016, variable dimensions, installation view, MÉLANGE 2017.Klaus Kleine: facade 1 (detail), 2016, variable dimensions, installation view, MÉLANGE 2017.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Klaus Kleine: O.T., 2016, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: O.T., 2016, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: RF 3, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Klaus Kleine: cava 1, 2017, archival inkjet print, 34 x 40 cm (unframed).Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Installation view, Klaus Kleine - Elephant in the Dark, MÉLANGE 2017.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: RF 2, 2017, acrylic paint, ceramic, 29 x 21,5 cm, unique piece.Klaus Kleine: facade 1, 2016, variable dimensions, installation view, MÉLANGE 2017.Klaus Kleine: facade 1, 2016, variable dimensions, installation view, MÉLANGE 2017.
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Perceiving the world differently is one of the advantages