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A TRIBUTE TO ”THE THIRD MAN” - GARMENTS: CAROL CHRISTIAN POELL - PHOTOGRAPHY: H. KYPRIANOU

CAROL CHRISTIAN POELL - WOW-EDGE/9 SELF-EDGE METRE COAT SCARF

photography: Haris Kyprianou for the Office 

CAROL CHRISTIAN POELL 16/6/14

photography: Harris Kyprianou for the Office

CAROL CHRISTIAN POELL 16/6/14

photography: Harris Kyprianou for the Office

7

GÜNTER BRUS “SELBSTVERSTRICKUNG” WIEN, 1965 2 - 30 June

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The Office gallery presents the Austrian actionist Günter Brus, to a Cyprus audience for the first time. His featured work, the action ”SELBSTVERSTRICKUNG” (1965 - 2013), is presented through thirteen black-and-white photographs recorded by the lens of Ludwig Hoffenreich in the Perinet basement in Vienna in 1965. The project remained buried in the artist’s personal archive until October 2010.

Brus writes this about the action: “A two-metre-high picture frame was stored away in the legendary Perinetkeller. I stringed this frame with molina and slit it open. My purpose was to emerge as a living image. I crawled into the frame assuming a foetal position. During the Action I entered an ecstatic rage, as a result I shredded the canvas and got tangled up in it. The Leibbildnis (living image) was destroyed at the end of that exalted Action and I poured white and black paint over myself.”

The Austrian performance artist and poet was born in Ardning, Styria in 1938. He was a founding member of the Viennese Actionism along with Otto Muehl, Hermann Nitsch and Rudolf Schwarzkogler. In 1966, Brus and Muehl founded the Institut für Kunst Direkte. During his actionist period, Günter Brus developed a controversial body- and self- analysis, which challenged traditional painting practices and the role of the artist in the society. Ιn Brus’ actions, his body was at the center of a clearly defined space and by making use of it, he explored the limits of human tolerance and physical endurance.

Looking back at Günter Brus’ career, there is a clear transition from informal/abstract painting to painting as a happening, and then from the use of the body, not only as a medium or surface, but also as material for painting. In this way, his action ”SELBSTVERSTRICKUNG” illustrates the crucial struggle of the artist with his canvas.

CAROL CHRISTIAN POELL 9/4/14

photography: Harris Kyprianou for the Office

CAROL CHRISTIAN POELL  ”SELF-EDGE” 9-4-14

photography: Harris Kyprianou


CAROL CHRISTIAN POELL 19-2-14

photography: Harris Kyprianou for the Office 

CAROL CHRISTIAN POELL 20-1-14

photography: Harris Kyprianou for the Office 

CAROL CHRISTIAN POELL 21/12/13

photography: Antonis Minas for the Office 

CAROL CHRISTIAN POELL ARRIVALS 06-11-13

photography: Antonis Minas for the Office

9

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DEEPTI BARTH – TRANSGRESSION   24/10/13 – 16/11/13

Deepti Barth presents TRANSGRESSION at the home of the Cyprus Visual Artists Association, the Phytorio, located within the Nicosia Municipal Gardens and at the Office gallery, just a few metres from the Buffer Zone. The work explores issues of restriction.

The material was shot and filmed in November of 2012 at the Nicosia International Airport (NIC). The lens follows the movement of a paraplegic Greek-Cypriot through this location: an area within the Buffer Zone controlled by the United Nations Peacekeeping Forces in Cyprus (UNFICYP). Photographs and video narrate the progression of the protagonist in a fragmented, often non-linear way, beginning on the runway, continuing on the uphill ramp of the terminal building. The paraplegic breaks though barbed wire and a locked entrance door, advancing through the corridors of the main building to reach what used to be a departure lounge – transgressing a decision that was taken by the UNFICYP  six months before filming, to strictly prohibit access to the terminal building “for safety reasons” (sic).

Deepti Barth’s approach employs elements that interact closely with one another, and which in some ways fundamentally merge. A series of natural facts, followed by her instrumental choices reinforce the appearance of confinement: the current political-military status quo of strictly controlled access, and the raw realism of the camera recording the movement - without post-production or color correction - shed a light of complex rawness onto the performance. The limits of restriction are reached as the protagonist wears garments that are designed to prevent the free movement of the limbs, and shoes which are dipped into a rubber block-form. Oddly enough, the shoes should prevent a person’s movement - but not when on a wheelchair. Like the blocked door of the airport, limitations on the protagonist’s feet do not function as such, and thus movement is possible.

This is an existentially ironic situation; in TRANSGRESSION the protagonist appears in an absolute center point of Cyprus - the Nicosia International Airport - which would, under normal circumstances, be a quintessential symbol of free movement - and he finds himself face to face with the consequences of the current political situation of a long-divided country. At one time the waiting room of an airport was a place of absolute truth; now it is full of accumulated pigeons faeces and ruined chairs. It is apparent that here, there is nothing left to wait for.

Tassos A. Gkekas

Notes

The United Nations Buffer Zone in Cyprus is a demilitarised area that divides the island in two parts, and is patrolled by the United Nations Peacekeeping Force in Cyprus (UNFICYP). The island’s division is contested, and the UNFICYP effectively maintain a ceasefire. The Buffer Zone is a result of the 1974 Turkish military invasion of Cyprus. Now the southwestern part of the island is internationally recognised as the Republic of Cyprus, an EU member state; and the northeastern part is self proclaimed (1983) as the Turkish Republic of Northern Cyprus, recognised only by Turkey. The Buffer Zone stretches for 180.5 kilometers shore-to-shore, cutting through the centre of Nicosia, separating the capital city in two. The width of the zone ranges from 3 meters to 7.4 kilometers.

Credits

Protagonist: Charis

Garments and rubber block shoes: CAROL CHRISTIAN POELL

Sound: Antonis Antoniou

Graphic Design: Tassos Polydorou

Technical support: Antonis Minas

Video post production: Sandra Schuck

In kind support: Cypriot National Guard

Special thank you to Carol Christian Poell

 

24/10/13 – 16/11/13  from Tuesday to Saturday 17:00-20:00

Opening at Phytorio 24/10/13  19:00

Phytorio – Cyprus Visual Artists, 2 Nehrou Street, Nicosia Municipal Garden

the Office, Kleanthi Christophides 32, Nicosia Within the Walls

+ 357 99848495  press@theofficegallery.com

CAROL CHRISTIAN POELL ARRIVALS 07-08-13

photography: Antonis Minas for the Office

CAROL CHRISTIAN POELL 04/07/13

photography: Antonis Minas for the Office