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reviews marcus gundling
Marcus GundlinG:
The way of hoopinG
galerie Parisa Kind, Fr anKFurt
15 decem ber – 30 January
Marcus Gundling’s 2007 paintings, in his third solo presentation at the from directly above in The Great Bend and rendered in monochrome,
recently relocated gallery Parisa Kind, seem to tread a traditional path: looks rather like a weather map’s rendition of an approaching hurricane;
quiet still-lifes with an eye for texture and familiar motifs. In Untitled (with the di sotto in sù viewpoint of Eingang makes a wooden entrance (into a
vase), for example, a gauzy white cloth is contrasted against a wooden table treehouse?) seem like a trapdoor set in the floorboards. The extreme
that recedes from the picture plane with perfect perspectival acuity; the close-up, giving no reference points, and misleading title in the diminutive
lovingly rendered delicate glass vase, however, is placed upside down and diptych Vogel 1/Vogel 2 (Bird 1/Bird 2) make the innocuous substance of
balances precariously on its thin neck. Indeed, there is something decidedly chocolate spread scooped up on a knife appear to be a lifeless avian form,
peculiar afoot in the work here: almost every picture shows a domestic scene turning what should be tasty and enjoyable into something unsavoury and
– entrance, sitting room, garden, kitchen – but with almost never a person disturbing.
glimpsed nor a hint at any narrative; just empty spaces or backgrounds, like These paintings are based on Gundling’s own photos; his last show
stage sets waiting for an action to unfold, or with a bizarre use of props, here was entirely photographic, images of ordinary things from similarly odd
such as the upturned vase or a light pink hula hoop hovering mysteriously angles with unusual lighting conditions. The artist is also an adept sculptor,
against an unpainted empty wooden ground in Huula. and perhaps a clue to his concept is to be found in the small, deceptively
The unsettling bareness of each scene is accentuated by the artist’s minor work Trick: the image is of a white handkerchief spread over a surface
technique, which gives the impression of being reductive rather than with a bump in it, obviously covering something. Just like a magician,
additive. In the ink and acrylic resin works on canvas or plywood, Gundling Gundling offers us the ‘pledge’, a seemingly normal item, like a painting;
must indeed apply substance to support, yet his spareness of touch and but with a ‘turn’ – sleight of hand, or in this case eye – he transforms the
his use of muted, almost noncolours – that look like sepia tint – make it usual into something atypical, the ‘prestige’, the object transformed into
appear as though he has instead scraped something away, in some cases something entirely other than what we expected. Amanda Coulson
leaving the support exposed, such as in Couch, where the flocking of the
central motif recedes into the shadow of the raw canvas and dissipates into
nothingness. Gundling’s use of perspective and strange points of view
Couch, 2007, india ink, synthetic resins
on canvas, mdF, 117 x 191 cm. courtesy the
often makes things appear other than they are: a swirled hairdo, captured artist and galerie Parisa Kind, Frankfurt
arTreview 166
march_REVIEWS.indd 166 5/2/08 14:00:32
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