Sonntag, 31. Juli 2016

Kai Schiemenz »Bastion Beauté«, für den Lichtparcours Braunschweig 2016

Foto: Martin Simon Müller, Kai Behrendt


 


 Text: Kito Nedo

Seit der Industrialisierung ist Stahl einer der wichtigsten Baustoffe in der Architektur. Das aus Roheisen gewonnene Material übte nicht zuletzt deshalb große Faszination auf Ingenieure und Architekten aus, da es (neben Beton) die Ablösung von traditionellen Bauweisen in Stein, Backstein und Holz ermöglichte. So wurden völlig neue Baukonstruktionen und ungewöhnliche Formgebungen möglich. Weltberühmte Bauwerke wie der Pariser Eiffelturm (errichtet zwischen 1887–1889), die Golden Gate Bridge in San Francisco (Bauzeit: 1933–1937) oder die traditionell auf Stahlskelett-Konstruktion basierende Hochhaus-Skyline Manhattans sind Zeugnisse dieser Faszination für diesen modernen, zug- und druckfesten Baustoff, dessen klassisches Anwendungsgebiet das Tragwerk ist. Maßgebliche Moderne-Architekten wie Mies van der Rohe und Jean Prouvé waren Stahlbau-Virtuosen. Der Stahl trägt die moderne Bauindustrie bis in die Gegenwart – auch wenn heute zunehmend hybride Techno-Materialien die Architektur dominieren.
 
In der Kunst wiederum scheint Stahl – abgesehen von Ausnahme-Künstlern wie Richard Serra – nicht unbedingt zu den bevorzugten Stoffen zu zählen. Im Gegenteil: Künstler begegnen dem Material mit sehr viel Respekt: „Alle sind sehr vorsichtig, denn das Material hat ein hohes Gefahrenpotenzial.“ erklärte etwa der kalifornische Konzeptkünstler Chris Burden einmal in einem Interview.[1] Für Burden war der I-Träger der Grund-Baustein der Kommerz-Architektur und die Machtverkörperung der Baubranche schlechthin, den es also in einer geschickten Drehung gegen die ihm selbst eingeschriebenen Effizienz-Gedanken zu richten galt. Für seine Performance-Installationen „Beam-Drop“ ließ Burden mithilfe eines Krans mehrere Dutzend Stahlträger aus großer Höhe senkrecht in eine Grube mit frischem Flüssigbeton fallen.
 
Auch der Berliner Künstler Kai Schiemenz begibt sich mit seiner Installation „Bastion Beauté“ (2016) über die Wahl seines Materials in das Feld zwischen Kunst, Architektur-Moderne und Kommerz-Architektur. Schiemenz verwendet die industriell genormten Stahlplanken als Grundstoff für seine „verlassene Baustelle einer unvollendeten Utopie“[2]. Doch aufgrund verschiedener Bearbeitungen und Verfremdungen des Baumaterials führt er eine neue und lockere Anmutung in die Szenerie, die mit Glanz und pastelligen Licht- und Farbspiegel-Spielen der traditionell grimmigen Grund-Konnotation des Stahls zu widersprechen scheint. Die stählernen Quadratrohre, I- und L-Profile wurden poliert, gepulvert (eine Form der Lackierung) oder mit verspiegeltem Plexiglas verschlossen – teilweise verbergen sich dahinter verschiedenfarbige LED-Leisten. So scheinen sie ihre Schwere zu verlieren. Der Künstler setzt auf gepflegte Eisdielen-Flamboyanz und einen fast heiteren Auftritt: „Bastion Beauté“ erscheint als bodennahes, sich ständig veränderndes Farb- und Lichtspektakel, dass sich dem Publikum zu jeder Tag- und Nachtzeit als pulsierendes „Lavendel-Pistazie-Cappuccino-Aroma“[3] neu und anders präsentiert. Gibt es also so etwas wie die heitere Seite des Stahls? Die Theatralik ist verdampft, die Baustelle ist verlassen. Die große, stolze Modernismus-Erzählung hat Sendepause. Stattdessen sammeln sich in den lauen Sommernächten die Jugendlichen um das seltsam kühle LED-Lagerfeuer.
 Das Spiel mit stofflichen und sozialen Aggregatzuständen gehört zum Werk von Schiemenz: Feststoffe verflüssigen sich und Schweres beginnt zu schweben, Versammlungen konstituieren sich, um sich anschließend wieder zu zerstreuen. Der Künstler achtet darauf, dass im Prozess der Produktion wie der Rezeption immer genügend Raum für Zufälle und unvorhersehbare Ereignisse bleibt. Das bedeutet, dass eine Installation wie „Bastion Beauté“ nicht ausschließlich vom Ende her gedacht wurde, sondern das Ergebnis eines relativ offenen Prozess markiert. Schiemenz misstraut der restlos durchformten Gestalt, genau so wie der vorgegebenen Rezeptionsrichtung: „In der Kunst versuche ich oftmals Dinge zu realisieren, die nicht zwingend mit Gestaltung zu tun haben – auch wenn meine Arbeiten sehr formstark sind.“[4] Deshalb wurde eine zu starke geometrische Ordnung zugunsten einer gewissen Ungeordnetheit verzichtet (welche sich selbst natürlich auch innerhalb gewisser statischer Regeln bewegt). „Bastion Beauté“ soll ihr Publikum mit ihrem Leuchten überraschen – vielleicht ebenso wie das plötzliche Auftauchen einer elektrischen Dragqueen im Park.
 
Text: Kito Nedo

[1] „Not many artists have used steel. Everyone is very careful because the material has so much potential for danger.“ Quelle: http://evilmonito.com/2008/11/18/poetic-model-a-new-criticism-of-chris-burden/

[2] Unveröffentlichte Projektskizze Kai Schiemenz, PDF, 2015/16
[3] Unveröffentlichte Projektskizze Kai Schiemenz, PDF, 2015/16

[4] Atelier-Gespräch, April 2016
 
 
Foto: Martin Simon Müller, Kai Behrendt
 
 
KAI SCHIEMENZ
BASTION BEAUTÉ

by Kito Nedo

Since the industrial revolution steel has been one of the most important building materials in architecture. The product, extracted from pig iron, fascinated engineers and architects, not least of all because, (next to concrete), it allowed for a break with traditional construction practices in stone, brick, and wood. Entirely new ways of building and unusual designs became possible. Internationally acclaimed buildings such as the Eiffel Tower in Paris (constructed 1887-1889) and the Golden Gate Bridge in San Francisco (construction 1933-1937) are outstanding examples of this development. And of course, the skyscrapers of Manhattan with their steel-frame skeletons, also famously bare witness to the fascination with this modern, tensile and pressure-resistant building material, its classic purpose, to provide load-bearing, support-rendering structure. Famous modern architects like Mies van der Rohe and Jean Prouvé were steel-construction virtuosos. Steel carried the construction industry into the present, and although hybrid techno-materials increasingly dominate architecture today, it remains a valuable building material. 

In art, however – apart from exceptions like Richard Serra – steel is not necessarily among favourite materials. On the contrary, artists approach it with the utmost respect: »Not many artists have used steel. Everyone is very careful because the material has so much potential for danger,« Chris Burden, the California concept artist explained in an interview.1 The I-beam for Burden was the primary building block of commercial architecture and the construction industry‘s absolute symbol of power. In an ingenious twist, it serves to regulate the self-proclaimed concepts of efficiency that he associated with this fundamental building component. For his performance installations, Beam Drop (1985) Burden used a crane to drop several dozen steel beams from a great height vertically into a pit of fresh liquid concrete. 

Through the choice of his material for his installation Bastion Beauté, the Berlin artist Kai Schiemenz also moves between the fields of encompassing art, and modern and commercial architecture. As the fundamental unit for his »abandoned construction site of an unfinished utopia,«2 he used industrial standard steel planks. By applying various manipulations and distortions, he introduces a fresh and unconstrained appearance into his presentation which, with its luster and play of reflective pastel light and color, contradicts the traditionally and typically grim connotation of steel. The quadratic steel tubes and I-beams were polished, pulverized (a form of painting) and sealed with translucent- reflective plexiglass. Behind some of them, he has hidden different colored LED strips, diminishing their inherent severity. The artist places emphasis on a sophisticated ice cream parlor flamboyance and an almost mirthful presentation. Bastion Beauté appears as a ground-level spectacle of constantly changing color and light. Visitors can experience its vibrant »lavender- pistachio-cappuccino flavor« 3 with its ever new and changing guises , any time of day and night. So is there any such thing as the lighter side of the steel? Theatricality evaporates, the construction site remains. The epic proud modernist narrative takes a rest. Instead, young people gather on the warm summer nights around this strange, cool LED-campfire.  

Playing with physical and social aggregate conditions belongs to Kai Schiemenz‘s work: what is solid becomes liquid, what is massive begins to float, assemblages construct themselves and then disperse again. The artist makes sure that in his process of production, as well as in the reception of his works, that there is always enough room for coincidences and unforeseen events. An installation like Bastion Beauté is not exclusively conceived from its end but instead is the result of a relatively open process.

Schiemenz completely distrusts forms that are worked out down to the last detail and makes this very clear in a viewing statement: »In art, I often try to realize things that do not necessarily have to do with design – even if my works are very powerful in their form.«Therefore, he forgoes an overly dominant geometric order for a veracious disorder (which naturally moves within certain rules of static). Bastion Beauté with its luminescence should surprise its viewers – perhaps even as beautiful as the sudden appearance of an electric drag-queen in the park.

1 »Not many artist have used steel. Everyone is very careful because the material has so much potential for danger.«
2 Unpublished project sketches Kai Schiemenz, PDF, 2015/16.
3 Unpublished project sketches Kai Schiemenz, PDF, 2015/16.
4 Studio conversation,




Foto: Martin Simon Müller, Kai Behrendt

 

Kai Schiemenz, "Große und Kleine - Pistazie/ Malve / Koralle" Part II

18.03.2016 - 11.12.2016 Städtische Galerie Wolfsburg


„Archiskulptur“ umschreibt wohl am besten, was der 1966 in Erfurt geborene und in Berlin lebende Künstler Kai Schiemenz in der Städtischen Galerie Wolfsburg präsentiert. Der Meisterschüler von Lothar Baumgarten arbeitet mit den Medien Zeichnung, Computergrafik, Modellbau, Architektur und Installation. Für Wolfsburg hat er sich raumgreifende Installationen vorgenommen, er will die Räume der Städtischen Galerie in ihrer Wahrnehmung aufbrechen, gewohntes Sehen und Erleben unterwandern. Sein Interesse gilt gesellschaftlichen Fragestellungen zu Stadt, Raum und Architektur. Was machen sie mit uns, welche Beziehungen haben wir dazu? Drei Räume bespielt er in Wolfsburg: große Styroskulpturen füllen den ersten Raum, der zweite dient ihm als Plattform für seine kristallinen, farbigen Glasskulpturen und großen Keramiken und im dritten Raum hat er ein 6 Meter langes Display platziert, das als Sockel für seine kleinen Styroskulpturen dient.
Die Ausstellung wird unterstützt von der Niedersächsischen Sparkassenstiftung und der Sparkasse Gifhorn-Wolfsburg.

Kai Schiemenz "Große und Kleine - Pistazie / Malve / Koralle"
Ausstellungsansicht Städtische Galerie Wolfsburg © Kai Schiemenz,
Courtesy Galerie EIGEN + ART Leipzig/Berlin, Fotos: Uwe Walter, Berlin
 













Mittwoch, 20. April 2016

Kai Schiemenz, "Große und Kleine - Pistazie/ Malve / Koralle"

 
 
 

 
Kai Schiemenz, "Große und Kleine - Pistazie/ Malve / Koralle"
a movie by cinéma copains for Städtischen Galerie Wolfsburg, 2016
 
 

open - Galerie EIGEN + ART Berlin

August 6 - September 5, 2015

From 6th august until 5th september 2015 the gallery is „open": In the course of the exhibition works by artists that are a fixed part of the programm meet very young positions that were already shown at the EIGEN+ART Lab in constantly changing constellations.


Four Coloured Block


Kai Schiemenz
Glas, Betonsockel, 2015
174 x 55,50 x 38 cm
Foto: Otto Fehlber
 
 
 
 
 
 
http://www.eigen-art.com/index.php?article_id=1237&clang=1&archiv=1237&back=10

Donnerstag, 15. Oktober 2015

Fokus | Galerie EIGEN + ART Leipzig

Karl-Heinz Adler, Kai Schiemenz, Philip SeibelExhibition: June 26  August 28, 2015
Opening: June 26, 2015, 6 - 9 pm





exhibition view, Eigen+Art Leipzig



exhibition view, Eigen+Art Leipzig
 
Adler meets Schiemenz and SeibelThe spiritual catalyst for this exhibition of three artists is Karl-Heinz Adler (*1927). However, it was not the man himself who personally initiated it; instead, it was his strikingly compelling oeuvre. He has been exercising an increasingly magnetic influence on a younger generation of artists, including Kai Schiemenz (*1966) and Philip Seibel (*1980). The reasons for this fascination are multifaceted and have to do with the reinvigorated interest in concrete art and its conceptual tactics. But not only that: it is certainly not merely questions regarding current trends or art-historical classification that have deservedly renewed our appreciation of Adler. It is nothing less than the exemplary consistency of an artist and man's life that has found expression in three different systems and which draws its single-mindedness out of this biographical wealth. Hence it is also a role model, so impressively played by Adler, that radiates out to touch young artists.
 
 


Kai Schiemenz, 2015, steel, transparent mirror, led
In addition, one has to know that various forms of social opposition to a certain kind of artistic practice prevailed during Adler's maturity as an artist. Just when the young man, who had studied at the art academy in Dresden, set out on his creative path, an extensive demonization of geometric abstraction, of concrete and constructivist art, broke out in East Germany that was linked to the image of so-called formalism as the enemy, and this alone seemed to discourage many of his contemporaries. Hence it required enormous resistance to pursue the path of nonrepresentational expression. He himself says today: "Conformation and blind obedience are things that an artist is not familiar with. He has to doubt and to examine." We can construe Adler's early willpower and resilience from his fanned out layerings of paper from the late fifties—highly unusual for the context of the time, and almost outrageous. Furthermore, his "serial lineaments," which he began producing in the mid-sixties, seem visionary—even from today's perspective—as they preempt the dynamics of binary renderings far before the digital age.




exhibition view, with Adler and Schiemenz
 There are a variety of intersections between Adler's oeuvre and the creative work of Kai Schiemenz and Philip Seibel, alone in their radical nonrepresentationalism. In this respect, the elective affinity cited here is already self-explanatory. Yet without infringing on the independence of Adler's two younger fellow artists, those intersections may be briefly traced in the context of this exhibition. Hence if we look at Seibel's works with aluminum composite panels as supports and his programmatic representation or staging of wood veneer alongside sharp-edged lacquer monochromes, then we see a strong orientation toward extra-artistic themes; themes that have to do with building practice, craftsmanship, and industrial references. This is naturally reminiscent of Adler's preferred pressboard surfaces and his use of industrial paints. We also find the urge to eliminate traces of the "handmade" as far as possible and to rehone our sensitivity for the enormous potential of painting, of the manual production of pictures, in this rational coolness. This flawless close vision turns viewing his work into an almost meditative pleasure. Thus the texture of wood, often rendered as a meticulous trompe l'oeil, becomes a further trademark of these panels. Seibel's initial training as a guitarmaker surely resonates in these sensitive, illusionist material analyses. Adler, on the other hand, who was born in the Vogtland, stems from a family of instrument builders; beginning in early childhood, he, too, came to know the artisan accuracy required for producing a functional object. In the case of the musical instrument in particular, the aesthetics of its appearance is simultaneously one of the materials out of which it made. Both artists redefine the panel painting of the twentieth and twenty-first centuries with all of the resources of an environment shaped by modernism and postmodernism, by industry and norms.

Blocks, 2015, glass,


Blocks, 2015, glass,

Blocks, 2015, glass,

Blocks, 2015, glass,
 Adler's interest in materials such as concrete, glass, and metal was fostered within a building context: his longstanding teaching activity in the department of architecture at the Technische Universität Dresden. He successfully experimented with ceramic and cast stone technologies, and alongside molded bricks for building purposes he also developed his modular approach in the area of art. In doing so, he rigorously (and with references to Bauhaus thought) demonstrated the synthesis between a building practice that catered to both function and artistic design. To this day, he also continues to produce autonomous, constructive formal derivations from glass or metal. Their independent ornamentality and materiality serve as a source of inspiration for Kai Schiemenz, who in recent years has increasingly worked with glass and metal as well. He is currently forming plastic base elements in the fashion of classic sculpture, and has the plaster negatives taken from them cast in a Bohemian glass factory, which yields fascinating references to industrial, building-related manufacturing methods. In fact, the resulting works call to mind bold early modern architectural models based on utopian ideas. This is hardly surprising, as architectural and even applied aspects have long defined the artist's work. We need only recall his participative spatial works such as Tower to Nowhere (2008) or Geschrumpftes Theater (Shrunken Theater, 2007), which were always constructed with user participation in mind. Today, Schiemenz produces more and more autonomous objects for space and walls, which we can read as statements about materiality and surface. He reinterprets entrenched stereotypes of these materials with the aid of mirrors, subtle light, colored glass, or polished metal: glass has the appearance of soft wax, or a semitransparent mirror overlays the expected reflection with a shimmer of light. Much like Adler's almost lyrical colored layers from the nineties, poetic and magical effects become visible in Schiemenz's newest glass objects. And this although these, as is also the case for the former, are directed by constructive deliberation

Kai Schiemenz, Beacon I, 2014
PVC, Aluminium, LED
230 x 15 x 22 cm
Yet what did Karl-Heinz Adler write in 2011 after commenting on the rigor of his principles and their ornamental regularities? "The transparency of my methods—at least I hope so—do not derogate from the secret and the affective." That reads like an argument for secrecy as an inexplicable element of successful art beyond conceptual objectives. It can be effortlessly applied to the impression made by all three of the groups of works being presented here.
Text by Susanne Altmann

Donnerstag, 30. Juli 2015

ART COLOGNE 2015

16. - 19. April 2015 // Halle 11.2 Stand B-030
Galerie EIGEN+ART

 
Kai Schiemenz
Blocks II, 2015, Glas
36 x 21,5 x 7 cm
Kai Schiemenz
Blocks III, 2015, Glas
43 x 18 x 8,5 cm
 
Kai Schiemenz
Blocks IV, 2015, Glas
44 x 19,5 x 9 cm
 
Kai Schiemenz
Blocks V, 2015, Glas
53 x 16 x 10,5 cm
 
Kai Schiemenz, Big Four Colours II
2015, Glas, Betonsockel
82,50 x 40 x 30 cm


Kai Schiemenz
Rungholt, 2015
Glas, Betonsockel
56,5 x 35,5 x 26 cm

 
Kai Schiemenz
Rungholt, 2015
Glas, Betonsockel
56,5 x 35,5 x 26 cm
 




Art Cologne 2015



Art Cologne 2015