Ausgang offen, Kunsthalle weishaupt, 10/18

Ausgang offen
Neues aus der Sammlung

Kunsthalle weishaupt, Ulm
21.10.2018 – 06.10.2019 GROUP SHOW

current

Opening

Sunday, 21th October 2018

Mit der Präsentation zahlreicher Neuzugänge zeigt die kunsthalle weishaupt die kontinuierliche Weiterentwicklung ihres Bestandes.

Dem Ursprung der konstruktiv geprägten Sammlung verpflichtet, setzen sich auch in der aktuellen Ausstellung moderne und zeitgenössische Positionen in Malerei und Skulptur mit der Verwendung geometrischen Formenguts sowie ihrem Spiel mit illusionistischen Effekten auseinander.
Als Fortführung der Op-Art und Minimalismus-Bewegung der 60er Jahre verstehen sich beispielsweise die Arbeiten des Schweizer Künstlers Philippe Decrauzat, die mittels eines Rasters dicht angeordneter Farblinien und -kurven mit der Flächigkeit der Leinwandmalerei brechen und damit zu optisch täuschend echt wirkenden dreidimensionalen Gebilden werden.
Mit einem Gitter aus übereinander gelagerten Farbbändern bringt Piero Dorazio, einer der wichtigsten Wegbereiter der Abstraktion in Italien, bereits in der zweiten Hälfte des 20. Jahrhunderts die Leinwand zum Vibrieren und zelebriert auf virtuose Weise die Licht- und Schattenwirkung von Farbe.
François Morellet, David Nash und Richard Long widmen sich in der Aneignung unterschiedlichster skulpturaler Techniken und Materialien aus Neonröhre, Kohle und Steinen den ursprünglichsten geometrischen Grundformen Kreis, Quadrat und Kreuz.
Die Linie als gestalterisches Element verwendet Bernar Venet in seinen kraftvollen wie gleichermaßen dynamischen Stahl-Skulpturen. Eine fünfteilige Rauminstallation bestehend aus Kreissegmenten, Gerade und Winkeln sowie eine Arbeit aus seiner berühmten Serie der Undetermined Lines verleihen dem Werk Venets eine exponierte Stellung im Rahmen dieser Sammlungspräsentation.
Im Kontrast zur überwiegend abstrakt geprägten Ausstellungskonzeption steht im Zentrum dieser Schau das politisch motivierte Werk des US-amerikanischen Künstlers Robert Longo. In der Tradition der Historienmalerei nehmen seine übergroßen Kohlezeichnungen Bezug auf Themen unserer Zeit: Religionskonflikte, Atomstreit oder Waffengesetze. eine seiner neuesten Arbeiten, monumental in Dimension und von ergreifender Wirkung, befasst sich mit der aktuellen Migrationsbewegung über die Mittelmeerroute. Seine Bilder lenken das Bewusstsein unmittelbar auf die noch ungeklärten globalen Fragestellungen der Gegenwart. Ausgang offen!
Mit diesen und vielen weiteren Künstlern zeigt die Ausstellung einmal mehr die facettenreiche Bandbreite und das hohe Niveau dieser wichtigen deutschen Privatsammlung.

Gerold Miller, Anthony Caro, Piero Dorazio, Jiri Georg Dokoupil, Günther Förg, Robert Longo, Tony Oursler, Bernard Venet u.a.

 

Gerold Miller, Lange+Pult (ZH), 10/18

Gerold Miller

Lange + Pult, Zürich
19.10.2018 – 23.12.2018 SOLO SHOW

current
Gerold Miller
20.10. – 21.12.2018
Die galerie lange + pult fre­ut sich, die fünfte Einzelausstellung von Gerold Miller in den Zürcher Galerieräumen zu präsentieren.
Einmal mehr setzt sich Gerold Miller mit Fragen der Bildlichkeit im Grenzbereich von Skulptur und skulptural-bildhaft definierter Architektur auseinander. Seine Objekte können als Bilder gelesen werden, genauso legitim ist es aber sie als Skulpturen aufzufassen. Die präzisen, kantigen Aluminiumobjekte wirken elegant und erinnern in ihrer Industrie-Ästhetik an Werke der Minimal Art.
Die imposante „section“-Arbeit zu Beginn der Ausstellung sowie die neusten „sets“ oszillieren zwischen Abstraktion und Realität, Inhalt und Nicht-Inhalt, Bild und Objekt. Ihre frontale Ausrichtung entspricht den oberflächlichen Ästhetisierungstendenzen unserer visuellen Kultur. Zufällige Eindrücke spiegeln sich in ihren perfekt lackierten, monochromen Oberflächen wider und bewirken, dass eine Verbindung zwischen Werk und umgebender Architektur hergestellt wird: Die Leere des Monochromen wird zum Protagonisten, der alles und nichts repräsentiert, während das Zusammenspiel von mattem und glänzendem Lack sowie der kontrastierenden Farben einen virtuellen Raum hinter der Bildebene entstehen lässt.
Zudem bringen die drei „Verstärker“ – Millers erste Serie von freistehenden, nicht wandbezogenen Skulpturen – als offene Struktur die minimalen Grundbegriffe der Dreidimensionalität mit sich: Höhe, Länge und Tiefe. Die „Verstärker“ stellen damit buchstäblich ein grundlegend wiederkehrendes Thema Millers künstlerischer Forschung dar: Die unzähligen Möglichkeiten, den unendlichen Raum beschreiben zu können.
Schliesslich ergibt sich eine ausgeklügelte Kollision von Konzepten: der reale 3D-Raum der drei „Verstärker“ sowie der virtuelle Raum der „sets“ und „section“ Arbeiten, die durch ihre gegenseitige Reflexionen den Ausstellungsraum zu einem Gesamtkunstwerk komponieren lassen. Dieses offene Zusammenspiel der verschiedenen Parameter wie Raum, Leere, Form und Farbe sowie der Aspekt einer aktiven Beteiligung des Betrachters widerspricht der traditionellen Theorie des Bildes als statisches und hermetisch abgeschlossenes Objekt.
Gerold Miller (*1961) ist seit Ende der 80er Jahre weltweit in Einzel- und Gruppenausstellungen sowie in internationalen Kunstinstitutionen und öffentlichen Sammlungen vertreten wie; Borusan Contemporary, Istanbul; Bundesministerium für Kunst, Wien; CCNOA, Brüssel; Daimler Contemporary, Stuttgart / Berlin; Esbjerg Museum, Dänemark; Graphische Sammlung ETH, Zürich; Kunstsammlung Weishaupt, Ulm; Louisiana Museum of Modern Art, Dänemark; Mallorca Art Foundation, Spanien; Musée d’Art et d’histoire, Neuchâtel; Museum Ritter, Stuttgart; Société Générale, Paris; Staatsgalerie, Stuttgart; Sammlung Schauwerk, Sindelfingen; oder Museum am Ostwall, Dortmund.
Gerold Miller wurde in Altshausen, Deutschland, geboren und lebt und arbeitet in Berlin.

 

Skulptur I, Kunstmuseum Singen, 10/18

Skulptur I

Kunstmuseum Singen, Singen
14.10.2018 – 06.01.2019 GROUP SHOW

current

Opening

Sunday, 28th October 2018

„Objekt. Plastik. Skulptur. 1.“ ist die erste Überblicksausstellung einer losen, grenzüberschreitenden Reihe, die das Kunstmuseum Singen der Gattung Bildhauerei rund um den Bodensee widmet. Auf zwei Etagen werden Arbeiten von 25 Künstlern gezeigt, die das Potential zeitgenössischer Bildhauerei von ca. 1990 bis heute repräsentieren – in und  aus einer Region, die noch immer sehr einseitig und zuerst als Ort der Maler wahrgenommen wird.

Eine gute Gelegenheit, die ausgewählten Positionen näher kennen zu lernen, bietet die Führung mit Museumsleiter Christoph Bauer M.A., mit dem Sie gemeinsam die Ausstellung erkunden können.

 

Kunstmuseum Singen

Ekkehardstraße 10

78224 Singen

Blue Monday, studio Aldo Chaparro, 10/18

Blue Monday

ALDO CHAPARRO STUDIO, MEXICO CITY
12.10.2018 – 30.11.2018 GROUP SHOW

current

Opening

Friday, 12th October 2018

curated by, Aldo Chaparro and Alejandro Romero

Gerold Miller,Monika Bravo, Aldo Chaparro, Mario García Torres, Erris Huigens, Iván Krassoievitch, Ana Montiel, Jaime Pollute, Alejandro Romero, Saúl Sanchez and Ariel Schlesinger.

Aldo Chaparro Studio

Cozumel 81 piso 1

Mexico DF, CP 06700

(55) 5211 4573

Openness, Nam Project, 09/18

OPENNESS

Nam Project, MILAN
19.09.2018 – 20.10.2018 GROUP SHOW

past

 

Nam Project is pleased to present „Openness”, a group show by artists Simon Callery, Gerold Miller and Sean Shanahan

According to the modernist tradition, the artwork is what it is, it says what it says. However it is not exhausted by this definition. The artwork just represents itself, but at the same time it states, and always points toward an elsewhere. The artwork can be dismantled, its integrity disrupted, and opened up to the phenomenal space that welcomes it. In other words, the artwork englobes the space, turning from bidimensional to a three-dimensional articulation if necessary. The space included in the artwork is the real space that the observer perceives as phenomenal data, but it is also the indication of another space, which in turn becomes the object of thought, of a mental projection.

From the text Openness by Giorgio Verzotti. 

Nam project Via Giovanni Ventura 6 | 20134 Milan

Grafik, Harper's Books, 08/18

Grafik

Harper´s Books, New York
18.08.2018 – 10.10.2018 GROUP SHOW

past

Opening

Friday, 17th August 2018, 17:00 –  20:00

Harper´s Books

87 Newtown Lane, East Hampton | New York  11937 .

Gerold Miller. Galerie Walter Storms. 04/18

Gerold Miller

Walter Storms Galerie, MUNICH
13.04.2018 – 07.07.2018 SOLO SHOW

past

Opening

Saturday, 14. April 2018, 11:00 –  16:00

Schellingstr. 48 | 80799 Munich

 

Where are we now, F.S Showroom, 04/18

Where are we now

F.S ART Private Showroom, Berlin
26.04.2018 – 08.07.2018 GROUP SHOW

past

Opening

Wednesday, 25. April 2018, 19:00 –  21:00

26.04. – 08.07.2018 by appointment only

Private Showroom Potsdamer Str. 102 |  10785 Berlin.

 

On the occasion of Gallery Weekend 2018 and opening on March 25, FS.ART is pleased to present the exhibition ”Where Are we Now,“ curated by Friederike Nymphius featuring Berlin based artists Lothar Hempel, Gregor Hildebrandt, Bernhard Martin and Gerold Miller. Where are we now is a reference to the eponymous song by David Bowie, released in 2013. The ballad, presented by Bowie in a broken voice, describes the artist’s special relationship to the city of Berlin. The city he encountered in the 1970s is no longer there: the fall of the Wall and the ensuing „hype” that swept over Berlin have changed it in no time. Places such as Potsdamer Platz in particular are no longer what they used to be. Much as Bowie’s song, the exhibition examines the world as a place of constant change, a place where one permanently needs to re- orient and re-invent oneself.

Where are we now

New knowledge, new images spread within seconds, like a tsunami. Even the smallest piece of information disseminates in no time throughout the world. Nothing stays secret. Boundaries blur. Where does „privacy” end? And where does the public space begin? What do we want? Where do we stand? The four artists selected for the show, each in their individual practice, represent a world in which old values have become increasinlgy irrelevant and the contextualization of the self appears more and more complicated. The restlessness of daily life and an ever-changing environment provide for no stability. Many of the works in the exhibition oscillate between construction and de-construction, reflecting on the forced constant re- orientation and re-definition of the self.

Art and culture mirror these profound social changes with their own means: Artists reject the old canon and create their own ideas for a world. Gregor Hildebrandt and Gerold Miller, with subtile critique, tie into the geometric-abstract idiom of the early twentieth-century avantgardes. While Gregor Hildebrandt, by means of audiotapes, re-works music into images and spaces of commemoration, Gerold Miller in works that are deeply rooted in the present age leads us to confront the interface of real and simulated space. Alongside these positions stand Lothar Hempel and Bernhard Martin. Committed to a figurative idiom, they explore the fragility of their/our world in both a poetic and ironic way, asking the ever-existential question of „whereto?”

A fundamental curatorial element of the show is to confront a formally reduced vocabulary with an expressive-figurative language in such a way as to produce from the collision a different visual experience for each of us. The overall image that Where are we now intends to frame is fragementary and not absolut. As a concept the exhibition means to make transparent how contemporary artists, against the backdrop of constant change, develop their own „visions” of the here and now in our world. The resulting prespectives are not always new, but still surprising. As long as the sun shines….

Dr. Friederike Nymphius, 2018

 

Gerold Miller. Galería Casado Santapau, 03/18

Gerold Miller

Galeria Casado Santapau, Madrid
15.03.2018 – 05.05.2018 SOLO SHOW

past

Opening

Thursday, 15 March 2018, 18:00

C/ Piamonte, 10, 28004 Madrid, Spanien.

Gerold Miller, Cassina Projects, 11/17

GEROLD MILLER

CASSINA PROJECTS, NEW YORK
02.11.2017 – 10.02.2018 SOLO SHOW

past

Cassina Projects is pleased to announce  Gerold Miller’s first Solo exhibition in the USA

Gerold Miller’s artistic practice has transformed over the course of his career but his research has always been conceptually based. The physical appearance of the work is only important in terms of how it is presented within a space and not on its aesthetic beauty. Cassina Projects presents recent works by the artist that showcase his contemporaneity and his ability to capture and expand the spatial contexts of the subjective viewer.

Here we see works from Miller’s Monoform, Set, and Verstarker series which are all based on contemporary materials and modern techniques. By replacing the usual canvas with aluminum and paint with enamel, he is removing himself from the traditional format of painting and creating minimalist series’ that incorporate sculptural, architectural and painterly elements.

Investigating space and how we navigate space is an essential theme in Miller’s work. Like an architect, two-dimensional plans are transformed into three-dimensional objects and meticulously refined under different conditions within a physical space. The space in which the work is viewed changes as we move around it due to the reflection of the Set Series’ colored enamel on the walls and the sheer size and framing of the Monoform. These surfaces function as a catalyst for the imagination to create a virtual space that often includes a reflection of ourselves.

Like a computer screen, the vividly colored surfaces of the works reflect our surroundings back at as, allowing us to experience our spatial perception in a simulated form. What we perceive to be a new physical and three-dimensional space is then absorbed by the work’s surface and flattened into a two-dimensional image.

In this digital age, it is nearly impossible to come across a work of art that does not exist within a preexisting network of interpretations but Miller uses this to his advantage. He knowingly uses illuminating colors that are primarily seen on screens and the contrast of the lustrous and matte black of our smartphones to create works that are non-restrictive to digital and physical contexts. The location in which an art object is displayed is directly related to how it is understood. When photographed and digitally presented there are no reflections and the objectivity of the work is lost. This viewer becomes convinced that this is the way the work is supposed to be seen but they are unaware of what emerges when they are in the physical presence of the work.

Gerold Miller, Galerie Nikolaus Ruzicska, 07/17

GEROLD MILLER
SECTION

Galerie Nikolaus Ruzicska, Salzburg
20.07.2017 – 31.08.2017 SOLO SHOW

past

In the group of works entitled SECTION, now exhibited for the first time, GEROLD MILLER expands his vocabulary with the clear, simple shape of the rectangle, up-ended on to a corner which has been cut off. Each resulting pentagon is divided into two monochrome components: black/white, red/blue and black matt/black gloss. The three large-scale works reflect the viewer as well as the surrounding space, which is dominated by free-standing sculptures called VERSTÄRKER [amplifiers]. These objects, which consist of three struts, literally amplify our spatial perception: height, width and depth illustrate vividly their three-dimensionality.

GEROLD MILLER has always used the device of repetition in his work. When he has decided on a form, he varies it – whether in his SECTION series or in the VERSTÄRKER – by modifying colour and size. Through its height of 220 cm alone, the glossy red “amplifier” draws all eyes to itself, its monochrome colouration giving it an elegant, majestic appearance. The smallest “amplifier” in our exhibition is remarkable for its bold combination of pink/red/black. The gilded, polished aluminium of further angles conveys a costly, exquisite materiality.

Apart from the fact that the production of the works entails a highly technified process in order to achieve absolute perfection and precision, the artist’s creative act is a traditional one. His study of sculpture at the Stuttgart State Academy of Art and Design is still perceptible. He draws by hand, with no technical aids, makes prototypes of his works, and tests the physical presence of his colour choice in different light situations. With SECTION and VERSTÄRKER GEROLD MILLER demonstrates once again that with his reduced canon of forms and colours he can continue to create new, outstanding compositions.

 

Gerold Miller, Mehdi Chouakri, 06/17

Gerold Miller
Capteur d'instant

Galerie Mehdi Chouakri, Berlin
24.06.2017 – 02.09.2017 SOLO SHOW

past

Mehdi Chouakri is pleased to present two exhibitions of new works by Gerold MIller: “capteur d ́instant“ in the gallery on Fasanenplatz, and “amplificateur d ́espace“ on Mommsenstrasse, until September 2.

Whilst new sculptures from the “Verstärker“ series are on view at Mommsenstrasse, the series “section“ is presented for the first time on Fasanenplatz. These radical wall works represent the latest development in Gerold Miller’s production, to date the most far-reaching step of his defying attitude against traditional forms of painting and sculpture. The “section“ piece is surrounded by works from the series “set“ and “monoform“, that are characteristic of the artist’s thorough reflection on a reduced approach of representation, which he has been developing since the 1990s.

Through “section“, Gerold Miller broadens the classical concept of painting, merging the work with the architecture of the gallery space. It consists of a tilted truncated black and white square that immediately evokes the Russian avantgarde and Malevitch. The painting becomes a relief, a sculpture within the wall, which is turn changed into a pictorial space. The artist plays here with a subtle balance between the surface, the room, light and shadow, in order to question or way of seeing, his monochrome fields and black stripes both catching and withstanding the viewer’s gaze. Gerold Miller’s strategy is purely abstract, focusing solely on the materiality of the work and of the space itself.

“Verstärker“ is Gerold Miller’s first free-standing sculpture series, on view at Mommsenstrasse. The works are installed as a sculpture forest, in several sizes and finishes, that draws the limits of an imaginary space where the viewer is free to decide what to see. The absence of recognizable forms combined with the works’ strong shapes and material build a mesmerizing environment. By using a drastic reduction, the artist erases the borders of abstract painting and minimalist sculpture, hence moving these categories in a conceptual context.

Between 1984 and 1989, Gerold Miller studied sculpture at the Staatliche Akademie der Bildenden Künste in Stuttgart. Later on, he stayed in Chicago, New York, Paris and Sydney for study visits. He lives and works in Berlin since 1998, and he was awarded the international Bodensee-Kulturpreis in 2001. His works have been exhibited in numerous institutions worlwide, amongst them Nationalgalerie – Hamburger Bahnhof, Berlin; Louisiana Museum of Modern Art, Humlebæk; Kunstmuseum Stuttgart; Tel-Aviv Museum of Art; ZKM, Karlsruhe; Museo de Arte Latinoamericano, Buenos Aires; 21er Haus, Vienna; Mumok, Vienna; Fondation Cartier pour l’art contemporain, Paris; Schirn Kunsthalle, Frankfurt am Main; Opera City Gallery, Tokio; South African National Gallery, Capetown; CAPC musée d’art contemporain de Bordeaux; Kunsthalle Weishaupt, Ulm, Kunsthalle Winterthur.

Gerold Miller. Amplificateur d'espace

Gerold Miller
Amplificateur d'espace

Galerie Mehdi Chouakri, Berlin
06.06.2017 – 02.09.2017 SOLO SHOW

past

Mehdi Chouakri is pleased to present two exhibitions of new works by Gerold MIller: “capteur d ́instant“ in the gallery on Fasanenplatz, and “amplificateur d ́espace“ on Mommsenstrasse, until September 2.

Whilst new sculptures from the “Verstärker“ series are on view at Mommsenstrasse, the series “section“ is presented for the first time on Fasanenplatz. These radical wall works represent the latest development in Gerold Miller’s production, to date the most far-reaching step of his defying attitude against traditional forms of painting and sculpture. The “section“ piece is surrounded by works from the series “set“ and “monoform“, that are characteristic of the artist’s thorough reflection on a reduced approach of representation, which he has been developing since the 1990s.

Through “section“, Gerold Miller broadens the classical concept of painting, merging the work with the architecture of the gallery space. It consists of a tilted truncated black and white square that immediately evokes the Russian avantgarde and Malevitch. The painting becomes a relief, a sculpture within the wall, which is turn changed into a pictorial space. The artist plays here with a subtle balance between the surface, the room, light and shadow, in order to question or way of seeing, his monochrome fields and black stripes both catching and withstanding the viewer’s gaze. Gerold Miller’s strategy is purely abstract, focusing solely on the materiality of the work and of the space itself.

“Verstärker“ is Gerold Miller’s first free-standing sculpture series, on view at Mommsenstrasse. The works are installed as a sculpture forest, in several sizes and finishes, that draws the limits of an imaginary space where the viewer is free to decide what to see. The absence of recognizable forms combined with the works’ strong shapes and material build a mesmerizing environment. By using a drastic reduction, the artist erases the borders of abstract painting and minimalist sculpture, hence moving these categories in a conceptual context.

Between 1984 and 1989, Gerold Miller studied sculpture at the Staatliche Akademie der Bildenden Künste in Stuttgart. Later on, he stayed in Chicago, New York, Paris and Sydney for study visits. He lives and works in Berlin since 1998, and he was awarded the international Bodensee-Kulturpreis in 2001. His works have been exhibited in numerous institutions worlwide, amongst them Nationalgalerie – Hamburger Bahnhof, Berlin; Louisiana Museum of Modern Art, Humlebæk; Kunstmuseum Stuttgart; Tel-Aviv Museum of Art; ZKM, Karlsruhe; Museo de Arte Latinoamericano, Buenos Aires; 21er Haus, Vienna; Mumok, Vienna; Fondation Cartier pour l’art contemporain, Paris; Schirn Kunsthalle, Frankfurt am Main; Opera City Gallery, Tokio; South African National Gallery, Capetown; CAPC musée d’art contemporain de Bordeaux; Kunsthalle Weishaupt, Ulm, Kunsthalle Winterthur.

Red appears before red, Museum Ritter, 05/17

Red appears before red

Museum Ritter, Waldenbuch
21.05.2017 – 17.09.2017 Group Show

past

The exhibition „Red appears before Red“ takes around 70 works from the Marli Hoppe-Ritter Collection that highlight the different aspects of the colour red, both with regard to the sheer breadth of red tones that exist, as well as to their systematic use in concrete art. With the aspiration that came with Modernism to forge an autonomous form of art, red became one of the colour of choice for abstract painting in the early twentieth century. While attention at the Bauhaus focused on the primary colour red in its all-encompassing theory of design, pure red became a major element of a new, reduced visual language in the art of Constructivism and the de Stijl movement.

Curators: Hsiaosung Kok and Marli Hoppe-Ritter

La Collezione, Museo d’arte della Svizzera italiana, 06/17

La Collezione

Museo d’arte della Svizzera italiana, Lugano
24.06.2017 – 28.08.2017 GROUP SHOW

past
Modern Sculpture, Galería Casado Santapau, 01/17

MODERN SCULPTURE

Galería Casado Santapau, Madrid
20.01.2017 – 04.03.2017 Group Show

past

In the late 1950s and the 1960s, abstract sculptors began to experiment with a wide array of new materials and different approaches to creating their works. Surrealist imagery, a minimalistic vocabulary, combinations of modern material and unusual surfaces became characteristic for the new modernist sculpture. Until today the subject of modernist sculpture is a central concern for many artists. The art works in the exhibition mix the formal language of modernist sculpture with a strong consciousness of the presence: modern sculpture.

Group exhibition with Alexandre Arrechea, Marc Bijl, Mike Bouchet, Madeleine Boschan, Aldo Chaparro, Sylvie Fleury, Andreas Golinski, Lothar Hempel, Gregor Hildebrandt, Tarik Kiswanson, Alicja Kwade, Mathieu Mercier, Gerold Miller, Przemek Pyszczek, Anselm Reyle, Gerwald Rockenschaub, Katja Strunz, Blair Thurman, Tatiana Trouvé, Xavier Veilhan, Claudia Wieser, Heimo Zobernig.

Curated by Friederike Nymphius and Gerold Miller.

 

Gerold Miller, Galerie Lange+Pult (AV), 10/16

Gerold Miller

Galerie Lange + Pult, Auvernier
10.10.2016 – 19.11.2016 SOLO SHOW

past
Gerold Miller, Kunsthalle Weishaupt, 04/16

Gerold Miller

Kunsthalle Weishaupt, Ulm
24.04.2016 – 02.10.2016 SOLO SHOW

past

The Kunsthalle Weishaupt dedicates a comprehensive solo exhibition to the artist Gerold Miller.

More than 70 large scale works from all productive periods of the artist will be on view, amongst them early works such as Anlagen, as well as more recent series such as Monoform and set. For the first time, the new sculpture series titled Verstärker will be presented. Most of the exhibited pieces come from the Collection Siegfried and Jutta Weishaupt. They will be complemented by a selection of works from the artist’s own collection and from various European private collections.

The exhibition opens on Saturday, 23rd of April with a greeting by Kathrin Weishaupt-Theopold, director of Kunsthalle Weishaupt, and an introduction by Johan Holten, director of Staatliche Kunsthalle Baden-Baden.

Gerold Miller, Casado Santapau, 01/16

Gerold Miller

Galeria Casado Santapau, Madrid
20.01.2016 – 04.03.2016 SOLO SHOW

past

In his first solo exhibition in Spain at Galería Casado Santapau, Gerold Miller will present new works of his series Monoform and set.

Dystotal, Ludwig Forum, 03/16

DYSTOTAL

Ludwig Forum, Aachen
17.03.2016 – 05.06.2017 Group Show

past

“Brave new world“? – Visions of modernity are negotiated in the group exhibition DYSTOTAL. By dealing with the visual vocabulary of the historical avant-garde, the works collected in DYSTOTAL newly fathom the concept of the absolute or the “Gesamtkunstwerk”, from longing via empathetic upheaval to failure in stagnation. Curated by the artist group Konsortium.

New Collection Display, Louisiana Museum of Modern Art, 03/16

New Collection Display

Louisiana Museum of Modern Art, Humlebæk
01.03.2016 – 11.09.2016 Group Show

past

Louisiana Museum of Modern Art presents a cornucopia of international contemporary and classic works of art acquired over the past three years – more than fifty works within painting, photography, sculpture and installation.

Abstract Loop, Belvedere 21er Haus, 07/16

Abstract Loop Austria
Kunst und visuelle Forschung seit 1950

Belvedere 21er Haus, Vienna
16.07.2016 – 23.10.2016 Group Show

past

In the reception of twentieth-century Austrian art, post-war constructive, concrete art – a major international movement – has been “pitifully sidelined” (Dieter Ronte). Yet in Austria especially there are a wide range of starting points and connections, as kinetic art, op art, concrete, conceptual and computer art all exemplify.

Monoform, PS Projectspace, 10/15

Gerold Miller
Monoform

PS Projectspace, Amsterdam
06.09.2015 – 18.10.2015 SOLO SHOW

past
Gerold Miller, Galerie Nikolaus Ruzicska, 03/15

Gerold Miller

Galerie Nikolaus Ruzicska, Salzburg
29.03.2015 – 30.04.2015 SOLO SHOW

past

Salzburg, im Februar 2015

Seit Beginn seiner künstlerischen Tätigkeit beschäftigt sich Gerold Miller mit der Frage, wie man den klassischen Bereich der Malerei verlassen und die Bildfndung von den herkömmlichen Sehmustern befreien kann. Seine jüngste Werkgruppe Monoform bricht am radikalsten mit der gültigen Ikonographie, erklärt sie doch die Wand zum Bild und deren Begrenzung zum Objekt: zwei gleichförmige, horizontal parallel montierte Aluminiumleisten, die in den bekannten Millerschen Farben Neonrot, leuchtendes Blau oder auch in den Nicht-Farben Silber, Gold und Schwarz lackiert sind, bilden einen Rahmen für die Wand, an der sie hängen. Für den entstehenden Zwischenraum braucht es nun den Betrachter, der herausgefordert wird, den leeren Raum als Bildfäche wahrzunehmen. Nicht das Erkennen von formalen Dingen steht im Mittelpunkt, sondern das Erkennen der Materialität des Raums. Miller knüpft mit dieser Serie an seine Werkgruppe der Anlagen aus den frühen 1990er Jahren an, als seine Bildobjekte unterschiedlichste Rahmenformen darstellten, teilweise verstrebt, matt oder glänzend. Sie steckten wie auch die neuen Monoform betitelten Werke das Territorium ab, machten die tragende Wand als Raum sichtbar.

Da Gerold Miller die gezeigten Arbeiten eigens für den jeweiligen Ausstellungsraum konzipiert, sind sie perfekt an ihre Umgebung angepasst und refektieren, begrenzen und erweitern diese. Die Objekte generieren also stetig neue Bilder, die aber nicht aus sich heraus entstehen, sondern aus der Außenwelt kommen. Die Serie Set ist ein herausragendes Beispiel dafür: sie erinnert am ehesten an Millers Total Objects betitelte Werke der letzten zehn Jahre, als quadratische oder rechteckige Bildträger aus Edelstahl oder Aluminium mit polierten Oberfächen aus mehreren Schichten hochwertiger Lacke – monochrom oder mehrfarbig, jedoch immer streng geometrisch – absolute Präzision und Perfektion vermittelten. Die polierten Oberfächen sind geblieben, jedoch leuchten uns nun glänzende, hochformatige Rechtecke auf matter Grundfäche entgegen oder umgekehrt die glänzende Grundfäche umfasst ein mattes Rechteck. Durch die durchdachte, präzise Aufhängung im Ausstellungsraum spiegeln sich einerseits die Betrachter, andererseits der umgebende Raum im Kunstwerk. Das Spiel mit visuellen Täuschungen wird auf die Spitze getrieben, Erinnerungen an Besuche von Spiegelkabinetten in unserer Kindheit werden wach. Die Kunstwerke folgen der Bewegung der Betrachter, Illusion und Realität verschmelzen.

Der Begriff der Malerei bleibt für Gerold Miller jedoch bestehen. Seine Entwürfe und Modelle, die Farbgebung, die Abstimmung der Proportionen sind fest in Künstlerhand und nehmen den längsten Teil des Schaffensprozesses ein. In den Atelierwerkstätten arbeiten Spezialisten aus der Lackier- und Metallbautechnik eng mit Gerold Miller zusammen. In langen und aufwändigen Prozessen wird die Umsetzung der Entwürfe gemeinsam erarbeitet. Seit Albrecht Dürer den Begriff des Kunstwerks aus der bis dahin gültigen Begriffichkeit des Handwerks herausgelöst hat, ist die Schaffung eines solchen streng mit dem Genius des Künstlers verbunden. Gerold Miller beweist dies eindrücklich mit seinen Arbeiten. Zeitgenössische Kunst kann durchaus auf solides Handwerk aufbauen, ihre Genialität und Einzigartigkeit aber verdankt sie dem Künstler selbst.

Galerie Nikolaus Ruzicska, Salzburg

29th March 2015 – 30th April 2015

Gerold Miller, Giacomo Guidi Arte Contemporanea, 04/13

Gerold Miller

Giacomo Guidi Arte Contemporanea, Rome
12.04.2013 – 18.05.2013 SOLO SHOW

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Giacomo Guidi Arte Contemporanea is pleased to announce the opening of the new gallery space in Rome with an exhibition of the Berlin based artist concept artist Gerold Miller.

Gerold Miller will present new Monoform and set, especially ideated for the exhibition. Both groups of works represent his ongoing occupation with a radically reduced understanding of pictoriality, which he has formulated since the very beginnings of his artistic career.

The recent series of Monoform takes inspiration from Miller’s early works of the 1990s. To date they are the most wide reaching steps taken on Miller’s path to differentiate himself from the traditional format of the ‚painting‘.

The traditional understanding of the ‚picture‘ is streched to its extremity by the Monoforms. Two equally proportioned aluminum angles are mounted parallel on the wall. They describe the boundaries of an imagined picture-space: the wall becomes a painting, and its borders become the object. The discovery of the picture-space is left to the imaginative power of the viewer. Gerold Miller nominates the wall as the ‚final ground‘, over-stepping previous borders between abstract painting and minimalist sculpture to broaden the categories of the conceptual.

Gerold Miller’s sets test the limits of representation. They operate at the margins of plane and space, light and dark – or more precisely, at the margins of the visible. Large-scale black monochrome surfaces absorb the viewer’s gaze, the contrast of flat matt and lacquer gloss, grey and silver gives rise to illusionistic new spaces behind the picture surface. Overlapping areas of color draw the viewer out into new simulated spaces, which interplay and feedback to the surface.

Some more recent sets bridge to the Monoforms. Their white surface melts with the wall while the green marks/angles on the borders of the sets insinuate the possibility of opening or limiting the space of the picture. These works are iconic for Gerold Miller’s conceptual understanding of the picture as something infinite that needs limits only to make it „tangible“.

The new edition, The Bocconi Art Gallery, 05/14

The new edition of the Bocconi Art Gallery

Bocconi Art Gallery, MILAN
28.05.2014 – 28.05.2015 GROUP SHOW

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A rainbow of contemporary art at the fourth edition of the Bocconi Art Gallery, on 27 May. From Steven Scott and Jonathan Monk’s neon colors, to Ettore Spalletti’s colors on boards and Gerold Miller’s colors on plated metal; from Giorgio Rastelli’s wooden gymnasts, to the conceptual art of Lucio Fontana, Piero Manzoni, Dadamaino and Grazia Varisco, in addition to Zhang Huan and Peter Wüthrich’s photographs and Chiara Dynys’s lenticulars. And Elio Marchegiani’s black and white Grande Scacchiera, as well as dark brown steel in works by Giuseppe Spagnulo and Mauro Staccioli. These are just a few of the works of art in the fourth edition of BAG, the Bocconi Art Gallery, which will be inaugurated on Tuesday 27 May. More than 100 installations, sculptures, photographs and paintings will be exhibited on the Bocconi campus: from the historical headquarters on Via Sarfatti to the building on Via Roentgen designed by the Irish firm Grafton.

 

Gerold Miller, Mies van der Rohe, 08/14

Gerold Miller

Mies van der Rohe Haus, Berlin
08.06.2014 – 14.09.2014 SOLO SHOW

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Mies van der Rohe Haus, Berlin

As part of this year’s theme “Inside and Opposite” Mies van der Rohe Haus exhibits the work of the internationally established, Berlin-based artist Gerold Miller, who was born in 1961. The exhibition can be seen from the 8th of June to the 14th of September in the listed house on the Obersee, which Mies van der Rohe designed for the printing company owner Karl Lemke in 1932.

Gerold Miller’s minimal-conceptual work is extremely reductive, both in form and colour. In his consistently radical approach to his work he has formulated a new concept, that goes beyond conventional definitions of the graphic. His objects occupy a border territory somewhere between sculpture, wall surface and space. They explore the transition between inner and outer space. The work enters into a dialogue with the architecture of the Lemke country house, where clearly defined wall surfaces define modern architectural space.

The sculptor has devised new work for the exhibition in the Mies van der Rohe House, including an installation entitled “Monoform 2“ made up of two six-metre, gold-lacquered panels for the main wall of the house. “Monoform 2” emphasizes both the two-dimensonality of the surface and the three-dimensionality of the space. It also relates to the colour and form of one of the beautiful little details of the house, the gold-bronze MR door handles.

In choosing the colours of the objects for the exhibition “Mies van der Rohe”, Gerold Miller was also prompted by the natural colours of the external space, the green of the lawn and the blue of the sky. The wall-sized glass facades allow a constant dialogue between the inside and the outside, between culture and nature. In responding to the colours of the location, Gerold Miller’s highly glossy, lacquered, neon-coloured objects take on a nearly immaterial presence.

8th June 2014 – 14th September 2014

Gerold Miller, Galerie Mehdi Chouakri, 05/14

Gerold Miller
Monoform

Galerie Mehdi Chouakri, Berlin
02.05.2014 – 21.06.2014 SOLO SHOW

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For the tenth edition of Gallery Weekend Berlin, Mehdi Chouakri opens on May 2, 2014 a solo exhibition by the Berlin based artist Gerold Miller, titled Monoform.

Monoform is a new series of works which take inspiration from Miller’s early works of the 1990s, and are to date the most wide reaching steps taken on Miller’s path to differentiate himself from the traditional format of the ‚painting‘.

The Monoform works stretch the traditional understanding of the ‚picture‘ to its extremity. Mounted parallel on the wall, the two equally proportioned aluminum angles describe the boundaries of an imagined picture-space: the wall becomes a painting, and its borders become the object.The discovery of the picture-space is left to the imaginative power of the viewer. Gerold Miller nominates the wall as the ‚final ground‘, over-stepping previous borders between abstract painting and minimalist sculpture to broaden the categories of the conceptual.

The second group of works shown belong to Miller’s set. series, in which he tests the limits of representation.These works operate at the margins of plane and space, light and dark – or more precisely, at the margins of the visible. Large-scale black monochrome surfaces absorb the viewer’s gaze, the contrast of flat matt and lacquer gloss giving rise to illusionistic new spaces behind the picture surface. Overlapping areas of color draw the viewer out into new simulated spaces, which interplay and feedback to the surface.

Monoform and set. both represent Gerold Miller’s ongoing occupation with a radically reduced understanding of pictoriality, which he has formulated throughout his artistic career. Specifically this engages with a process of systematic reduction of the creative medium to give rise to an ascertainable picture form.

The exhibition Monoform will be accompanied by a full-color catalogue.