Bringing Light into a Windowless Room

June 26 - August 22, 2014



Diango Hernández, Matt Mullican, Christopher Williams


In 1964 the gallery building was completed and opened at Karl-Marx-Allee 45, in Berlin according to the design by architects Franek and Kaiser, under the name Kunst im Heim as the former exhibition hall for art and arts and craft in the GDR.

 

1972 Matt Mullican, as a member of John Baldessari’s class of the CalArts Center in Valencia,
California, led a ray of light from the campus of the university into a windowless classroom and burned a dried leaf. Four mirrors, one magnifying glass and his artist friends Suzanne Kufler, Jill Ciment, Pierre Picot and Tom Radloff supported him.

 

2006 Diango Hernández exhibited nine painted objects on a 4.5 x 13.5 meter floor drawing in Oscar Niemeyers’ exhibition building at the 27th São Paulo Biennal. The objects quote architectural elements of the modernist Avenida Paulista in São Paulo. The
installation has one shaded and one sunny side. The visitors are invited to step on it, to sit and to observe. Out of security reasons the organizers of the Biennal prohibited the public access and use of the artwork.

 

Berlin, Karl-Marx-Allee 45, June 26, 2014: The São Paulo installation We are all Unfinished Drawings by Hernández is exhibited for the second time. In Brazil there is the Soccer World Cup happening. In Recife, Germany competes against the USA to reach the round of sixteen. Please take off your shoes. Access only permitted with socks.

 

Since 2013 works by Christopher Williams are exhibited under the title Production Line of
Happiness.

 

2014 two collage ensembles of the series Supplement ‘14 (Mixed Typologies) from the
Production Line of Happiness are shown for the first time in Berlin, in the exhibition Bringing Light into a Windowless Room.

 

 

 

1964 wird in Berlin an der Karl-Marx-Allee mit der Hausnummer 45 nach dem Entwurf der Architekten Franek und Kaiser das derzeitige Galeriegebäude als Ausstellungshalle für Kunst und Kunsthandwerk aus der DDR unter dem Namen Kunst im Heim fertiggestellt und eröffnet.

 

1972 leitet am CalArts Center in Valencia, Kalifornien, der Künstler Matt Mullican als Mitglied der Klasse von John Baldessari Sonnenlichtstrahlen vom Campus der Universität in deren fensterlosen Klassenraum und bringt ein getrocknetes Laubblatt zum Brennen. Vier Spiegel, eine Lupe und seine Künstlerfreunde Suzanne Kufler, Jill Ciment, Pierre Picot und Tom Radloff unterstützen ihn dabei.

 

2006 stellt Diango Hernández in São Paulo während der 27. São Paulo Biennale in Oscar Niemeyers Ausstellungsgebäude neun bemalte Objekte auf eine 4,5 x 13,5 Meter grosse Bodenzeichnung. Diese zitieren Architekturelemente der modernistischen Avenida Paulista in São Paulo. Die Installation hat eine Licht- und eine Schattenseite und die Besucher werden zum Betreten, Sitzen und Betrachten eingeladen. Die Biennale-Leitung lehnte den Zutritt und die Benutzung aus Sicherheitsgründen ab.

 

Berlin, Karl-Marx-Allee 45, 26.06.2014: Die São Paulo-Installation We are all Unfinished Drawings von Hernández wird zum zweiten Mal ausgestellt. In Brasilien ist Fussball-WM und in Recife spielt Deutschland gegen die USA um den Einzug ins Achtelfinale. Bitte Schuhe ausziehen, betreten nur auf Socken erlaubt.

 

Seit 2013 werden von Christopher Williams Werke unter dem Titel Production Line of Happiness veröffentlicht.

 

2014 werden zwei Collagen-Werkblöcke aus der Reihe Supplement ‘14 (Mixed Typologies) aus der Production Line of Happiness zum ersten Mal in Berlin in der Ausstellung Bringing Light into a Windowless Room gezeigt.

 


  • Diango Hernández, "We are all Unfinished Drawings”, 2006, Ink and gouache on paper, mdf-objects, video-loop with sound, 177.2 x 531.5 x 137.8 inches / 450 x 1350 x 350 cm, Installation view, Photo: Jens Ziehe, © the artist, Courtesy Capitain Petzel, Berlin.
  • Diango Hernández, "We are all Unfinished Drawings”, 2006, Ink and gouache on paper, mdf-objects, video-loop with sound, 177.2 x 531.5 x 137.8 inches / 450 x 1350 x 350 cm, Installation view, Photo: Jens Ziehe, © the artist, Courtesy Capitain Petzel, Berlin.
  • Christopher Williams, "Garten im Voigtmichelshof, Alpirsbach, June 7th, 2010“, 2010, Archival Pigment Print, Paper: 20 x 24 inches / 50.8 x 61 cm, Framed: 32.8 x 37 inches / 83.2 x 94 cm, © the artist, Courtesy Capitain Petzel, Berlin.
  • Matt Mullican, "Bringing the Light into a Windowless Room and Burning a Leaf“, 1972 (Performance views, CalArts, Valencia, CA.), 10 modern prints, size of paper: each sheet 10.4 x 14.4 inches / 26.5 x 36.5 cm, image size: each 8.4 x 12.4 inches / 21.2 x 31.4 cm, Installation view, Photo: Jens Ziehe © the artist, Courtesy Capitain Petzel, Berlin.
  • Matt Mullican, from the series "Bringing the Light into a Windowless Room and Burning a Leaf“, 1972 (Performance views, CalArts, Valencia, CA.), 10 modern prints, size of paper: each sheet 26,5 x 36,5 cm, image size: each 21,2 x 31,4 cm, © the artist, Courtesy Capitain Petzel, Berlin.
  • Matt Mullican, from the series "Bringing the Light into a Windowless Room and Burning a Leaf“, 1972 (Performance views, CalArts, Valencia, CA.), 10 modern prints, size of paper: each sheet 26,5 x 36,5 cm, image size: each 21,2 x 31,4 cm, © the artist, Courtesy Capitain Petzel, Berlin.
  • Matt Mullican, from the series "Bringing the Light into a Windowless Room and Burning a Leaf“, 1972 (Performance views, CalArts, Valencia, CA.), 10 modern prints, size of paper: each sheet 26,5 x 36,5 cm, image size: each 21,2 x 31,4 cm, © the artist, Courtesy Capitain Petzel, Berlin.
  • Left: Christopher Williams, "Femme, monument, 1970. Kunstgießerei Bonvinici, Verona. Bronze, 250 x 100 x 50 cm, Museum Frieder Burda, Baden-Baden. Bronze with black patina, signed and numbered with engraving 'Miro EA 2' June 9th, 2010“, 2010, Gelatin Silver Print, Paper: 23,7 x 19,9 inches / 60.3 x 50.5 cm, Framed: 38 x 33.5 / 96.5 x 85.1 cm Right: Christopher Williams, "Supplement ‘14 (Mixed Typologies) #9“, 2014, Full colour offset prints and adhesive tape on paper, 36 Collages (framed): 12.5 x 10 inches / 31.7 x 25.4 cm, 1 Collage (framed):
 12.2 x 8.7 inches / 30.9 x 22.2 cm Installation view, Photo: Jens Ziehe, © the artist, Courtesy Capitain Petzel, Berlin.
  • Christopher Williams, "Supplement ‘14 (Mixed Typologies) #9“, 2014, Full colour offset prints and adhesive tape on paper, 36 Collages (framed): 12.5 x 10 inches / 31.7 x 25.4 cm, 1 Collage (framed):
 12.2 x 8.7 inches / 30.9 x 22.2 cm, Photo: Robert Gruber and Markus Krottendorfer, © the artist, Courtesy Capitain Petzel, Berlin.
  • Left: Christopher Williams, "Supplement ‘14 (Mixed Typologies) #9“, 2014, Full colour offset prints and adhesive tape on paper, 36 Collages (framed): 12.5 x 10 inches / 31.7 x 25.4 cm, 1 Collage (framed):
 12.2 x 8.7 inches / 30.9 x 22.2 cm. Right: Christopher Williams, "Supplement ‘14 (Mixed Typologies) #4“, 2014, Full colour offset prints and adhesive tape on paper, 36 Collages (framed): 12.5 x 10 inches / 31.7 x 25.4 cm, 1 Collage (framed):
 12.2 x 8.7 inches / 30.9 x 22.2 cm Installation view, Photo: Jens Ziehe, © the artist, Courtesy Capitain Petzel, Berlin.