Charles Gaines (b.1944), lives and works in Los Angeles. Over the past 40 years, Charles Gaines has investigated the relationships between aesthetic experience, political beliefs, and the formation of meaning, employing systems and rule-based procedures to explore how we experience and derive meaning from images, language, and art. Often linked with early Conceptualists who came to prominence in the 1960s, Gaines developed a practice that focuses on issues of subjectivity, as well as traditional formal and material concerns. His identification with John Cage’s examinations of indeterminacy may be seen in his use of metaphors, metonyms, and other linguistic tools. The exhibition comprise two bodies of work by Gaines from the series «Shadows» (1978 – 1980) and «Night/Crimes» (1994-1995) In 2015 Charles Gaines participates at the Venice Biennale, recently The Hammer Museum in Los Angeles presented the exhibition Charles Gaines: Gridwork 1974 – 1989. In 2014, Charles Gaines was the subject of a major exhibition at The Studio Museum in Harlem, focusing on his work from the1970s and 1980s. In 2013, the Pomona College Museum of Art and Pitzer College, Claremont, California, presented a survey of his work from 1975 to 2012. Manifestos was shown in 2011 at the UCLA Hammer Museum, Los Angeles. Among numerous group exhibitions both in the United States and internationally, Gaines work was included in Blues for Smoke, organized by the Museum of Contemporary Art, Los Angeles, and at the Whitney Museum of American Art, New York in 2013; Under the Big Black Sun: California Art 1974-1981, 2011 at the Museum of Contemporary Art, Los Angeles; and the 2007 Venice Biennale, Italy. He is also a 2013 recipient of a fellowship from the John Simon Guggenheim Memorial Foundation.
Carla Guagliardi (b.1956), lives and works in Berlin and Rio de Janeiro. Carla Guagliardi s optic and tactile language is akin to her Brazilian predecessors rooted in 1960s conceptualism, namely Lygia Pape, Helio Oiticica, Lygia Clark, who adopted an anthropophagous model which adhered to Modernism and the vanguard grafting indigenous culture and popular elements into them. Her interest in natural science and her cyclic rather than linear conception of time are informed by the overwhelming exuberance of nature in Brazil, which prevaricates the immediacy of urban digital culture. Carefully composed, Carla Guagliardis installations are highly aesthetic and contain elements of dynamic systems governed by visible as well as invisible processes, performing a poetic measure of time. «For the last years I have followed an artistic path which is the result of a predominantly sculptural research which focuses on time as a decisive agent, along with other ideas I experiment with the nearness of originally diverse material such as: water, plastic, iron, glass, copper, steel, cotton, plants and many others, rendering imminent the action of time by a mnemonic record on matter and space». One-person exhibitions of Carla Guagliardis work have been hosted by institutions that include The National Museum and the Racyznski Library, Pozan, 2014 and the Museum of Modern Art in Rio de Janeiro and Haus am Waldsee in Berlin (both in 2009), whereas her participation in group shows spans from the exhibition Evelina Cajacob I Carla Guagiardi at Galerie m Bochum in 2014, Haus der Kulturen der Welt (1998 and again in 2006), Akademie der Künste, Berlin (2010) and Westfälischer Kunstverein, Münster (2011).
Franka Hörnschemeyer (b.1958), lives and works in Berlin. Franka Hörnschemeyer focuses her work on a multifaceted approach , redefining spatial conditions and the relationship between object and viewer, sculpture and space. By addressing the viewer s relation to unperceived aspects of space and by her very unique method of using building material she confronts us with a new spatial experience, challenging our understanding of architecture. Revolving around space in the sense of volumes, buildings as well as historical and perceptual spaces, can also include sounds, which can define spaces in just the same way as the qualities of their building materials do. The artist s definition of space is not a traditional one: matter and space are equal. As she explains, “To me a space represents a construction made up of social, historical, and psychological relationships that are constantly in an interplay with people. I examine these relationships and reorganize them.” Solo exhibitions include “TSE 11022”, Hamburger Bahnhof Museum für Gegenwart, Berlin, 2002, “Peenemünde,” Jewish Museum, Athens (2008), “In the Presence of Noise,” Galerie Nordenhake (2010) and “Franks International” Wilhelm Hack Museum, Ludwigshafen (2011). Notable public projects include “BDF – bündig fluchtend dicht”, Deutscher Bundestag, 1998-2001; She has participated in numerous group exhibitions, most recently including «That’s All» at G262 Sofie Van De Velde, Antwerp (2015), “Ideal City – Invisible Cities,” Brandenburgischer Kunstverein, Potsdam (2006), which was also on display in Zamosc, Poland, “squatting” Temporäre Kunsthalle, Berlin (2010) and “We are all Astronauts” Museum Marta, Herford (2011). Hörnschemeyer is the recipient of numerous grants and prizes, Karl Schmidt-Rottluff grant (1992), Vordemberge prize from the City of Cologne (1994), Art prize of the City of Nordhorn (2006), fellowship of the Henry Moore Institute, Leeds (2006), and most recently the mfi prize for Public Art (2011).
* Sources: Galerie Nordenhake, Paula Cooper Gallery, Susanne Vielmetter Projects, DiehlCube, Galerie m Bochum, Hammer Museum, Pomona College; Cynthia Peters.
Installation photography: Erik Sæter Jørgensen