Friday, 12th April – Saturday, 18th Mai 2013
Giacomo Guidi Arte Contemporanea
c, Via Antonio Stoppani, 15
Milan, Italy
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“.