Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers

  • Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers
  • Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers
  • Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers
  • Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers
  • Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers
  • Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers

Visit to PAMELA ROSENKRANZ, LUCY DODD & OTTO PIENE at Sprüth Magers

May 24, 2017, 3 PM

Many thanks to the associate gallery director Judith Plodeck introducing our participants to the history and program of SPRÜTH MAGERS and guiding us through the exhibitions SHE HAS NO MOUTH by Pamela Rosenkranz, LAKE IN THE SKY by Lucy Dodd & LIGHT BALLET by Otto Piene.

Exhibition Dates: April 29 – June 10/17, 2017
Location:  SPRÜTH MAGERS Berlin
Opening Hours: Tuesday – Saturday, 11 AM – 6 PM 
Address: Oranienburger Straße 18, 10178 Berlin

She Has No Mouth is Pamela Rosenkranz’s inaugural solo exhibition at Sprüth Magers, Berlin, for which she has developed a new series of paintings and an installation with light, scent, and sound. The works continue her longstanding engagement with the biological and evolutionary underpinnings of art, her investigation of materiality and immateriality, pigments and pheromones, microbes, colors, and scents.”

“Sprüth Magers is pleased to present a solo exhibition of new work by Lucy Dodd, her first with the gallery. In a practice driven by the possibilities of abstraction as a spiritual language, Dodd will present four paintings, works on paper, and a chair sculpture in a ritualised space in which both her work and their viewers will become protagonists in a highly complex theatre of signifiers.”

Otto Piene’s use of light developed in the late 1950s with works utilising earlier experiments of printing onto canvas using punctured screens of many small holes, producing a grid of small, elevated pigment dots on the surface. These perforated ‘raster sieves’ were used in early works as hand-held tools through which to shine light from candles. This rudimentary apparatus soon developed into more complex means in 1960-61, employing metal screens, discs, motors, timers, and rotating electric lights, coming to a theatrical climax in room size installations. A selection of these elements will be presented in Sprüth Magers collaboration with the Otto Piene Estate, his first exhibition with the gallery, taking the form of a ‘Light Ballet’.” (Text excerpts from the press releases by courtesy of Sprüth Magers)

More information on the SPRÜTH MAGERS Website.