Sculpture. The rebirth of the author

"A few of the more general aspects may persist, such as the work's being like an object or being specific, but other characteristics are bound to develop. Since its range is so wide, three-dimensional work will probably divide into a number of forms. At any rate, it will be larger than painting and much larger than sculpture, which, compared to painting, is fairly particular, much nearer to what is usually called a form, having a certain kind of form. Because the nature of three dimensions isn't set, given beforehand, something credible can be made, almost anything."
– Donald Judd


Though written in the 60s, Donald Judd's seminal essay, "Specific Object" still reads like a comment on contemporary practice. The summer exhibition at Gallery Johan Koenig brings together 16 international "emerging and emerged" artists from outside the gallery's regular roster for a focused show on contemporary sculpture. With few exceptions, most of the works have been made in the last few years.

The long title of the show functions as a sort of guided definition to the exhibition: "Sculpture is three-dimensional artwork created by shaping or combining hard materials - typically stone such as marble - or metal, glass, or wood. Softer materials can also be used, such as clay, textiles, plastics, polymers and softer metals." The exhibition looks anew at the contemporary state of 3-dimensional work.

It shows that a lot of work has in common the return to the use of handicraft, do-it-yourself and authorship. These tendencies have now been going on for some years and are perhaps reaching their apogee. The 3-dimensional works move away from the machine-like, industrially produced and outsourced objects with sleek finishing. The interest in handicraft and crafts is omnipresent in society today, going back to the know-how of professions, instilling resistance to mass production and mass choice, and doing away with excess consumer choice. Furthermore, they exhibit a low-consumption, eco-friendly lifestyle. Finally, and most important, they bring the focus back to a recognition of authorship.

The show represents a mix of objects—some of which reference functional or existing objects and some of which are completely detached from any reference to daily use. For example the work by Kasia Fudakowski (*1985) is authored in relation to a focus on the duality of organic and abstract monumental shapes. In the entrance is a monumental phallic-shaped sculpture: a stacking of gigantic pink globules, the top of which is suffused with black paint. The view to the main space is partly obstructed by a monumental curved installation, leading onto a black triangular base by the British artist Phyllida Barlow (*1944). Since the sixties she has constructed large sculptures out of available materials based on situations from the everyday environment, which, taken out of context, result in alienated objects.

In the main room the sculptures are precisely divided in space - almost like meticulous acupuncture points. There is a painterly wall assemblage by Jessica Stockholder (*1959). Sandwichkasten, 2003 hanged curved cardboard in a metal structure by the German artist Michael Beutler (*1976) who often uses building materials and adapts them with simple methods to create architectural sculptures.

Other examples include:
Model 8, 2006: a plaster piece by the Belgian artist Michel François (*1956) derives from his series of sculptural 'models' that are created by choosing different quotidian objects covered with plaster. Hoper II, 2011: an anthropomorphic shape covered with black painted aluminum. It is by the Argentinean artist Eduardo Basualdo (*1977). The artist arranges light, kinetic objects, and sculptural elements to create poetic settings. Tempio di Apollo, 2010 a work by the Belgian artist Jan De Cock (*1976), is a pedestal for a camera. The pedestal is composed of a collage of modular sculptures like columns, fountains, temples, timpani and photographs of crumbling modern buildings. This creates a link between the modernist architecture and the structure of its ancient model.

A firework inside of a fabricated glass box is shown by New York based artist Jason Kraus (*1983). In the corner of a forgotten wall we see 1/2 a 2-fer, 2010 a colored bar with a light bulb on top by the New York based artist Andy Coolquitt (*1964). His abstract, linear sculptures are made of broom handles, plastic straws and other found objects, sometimes wired to light bulb. His work converts serial objects to his own idiom.

The works in the exhibition each investigate in their own way the etymology of sculpture and its relation to both the object and the contemporary situation. Angelique Campens Until August 27th, 2011
Sculpture is three-dimensional artwork created by shaping or combining hard materials...
Gallery Johan Koenig
Dessauer Straße 6-7, Berlin
Artists: Darren Bader / Eduardo Basualdo / Phyllida Barlow / Michael Beutler / Andy Coolquitt / Jan de Cock / Agathe Fleury / Michel François / Martha Friedman / Kasia Fudakowski / Jason Kraus / Justin Matherly / Lili Reynaud-Dewar / Martin Soto Climent / Jessica Stockholder / Johannes Wald

Until August 27th, 2011
Sculpture is three-dimensional artwork created by shaping or combining hard materials...
Gallery Johan Koenig
Dessauer Straße 6-7, Berlin
Artists: Darren Bader / Eduardo Basualdo / Phyllida Barlow / Michael Beutler / Andy Coolquitt / Jan de Cock / Agathe Fleury / Michel François / Martha Friedman / Kasia Fudakowski / Jason Kraus / Justin Matherly / Lili Reynaud-Dewar / Martin Soto Climent / Jessica Stockholder / Johannes Wald