30 September – 28 October 2011
Opening Times: Thursday until Sunday 4 – 8 pm
129Gallery is pleased to announce ‘Sichtbarkeit’ (Visibility), a Group Exhibition of five international artists including Painting, Sculpture, Installation, Animation and Conceptual work.
By blackening the doors and windows of the gallery we have set out to allure the public into our enigmatic box. It is our hope that the thrill of the unknown and the mystery unfolding will induce an adventurous spirit and wonder in the public. Once tempted into the space, we are excited that they will continue with that appetite of discovery for the works that await them.
In Nothing to Hide, the artist Franziskus Nakajima for the first time makes visible his technical process of his sculptural installation, thus accentuating the peculiarities of his “sweating house”, in it’s moment of exposure.
Mit Borras states his commitment is to the message and the work. In his piece Police Violence displayed on a plinth is a 160 GB Hard disk. This Hard disk contains videos of police violence in fifteen Democratic countries during demonstrations. Only the exterior surface is visibile, what lies beneath is the catalyst for discourse.
Polly Benford inspired by Eadweard Muybridge, draws fragile drawings on carbon paper and animates them into moving sequences. In “FA Beat Time” we see Fred Astaire dancing his sock solo “A Solo Needle in a Haystack” from The Gay Divorcee 1934. Through the magic of her piece this resurrected legend gives us an exclusive performance and then disappears of the screen. Where does he go? Where has he been?
Clement Loisel is searching through what is left of our humanity; his two works in the gallery are portraits, where only the eyes and mouth are visible. The rest of the face is masked with paint which alienates his audience yet demands their speculation.
Jeewi Lee’s works are often "Kippfiguren" meaning that the viewer cannot immediately see what is figure and what is background.Her work demands a full investigative cooperation with the subject matter. Only those who dare to fully commit to Wilde Huner and Narziss will be rewarded.
We encourage the viewer to take the time to really get beneath the surface of the work, the space and the gallery itself. It is when the viewer explores the deeper, sometimes hard to find territories of the work that they may discover the most rewarding and poignant elements.