space made to measure object, made to measure space

Gabriel Kuri
November 17, 2007 – January 26, 2008

Quarry cast between a given corner and three random items, 2007 (left)

Stone cast, shoes, taperole, cardboard box

An illusory real looking fake rock sits on the floor. The rock apparently fits exactly around the corner where it is placed, as if growing around, or growing through the wall, like a strangely unexpected intruder.

 

A calculated journey into a calculated experience, 2007 (center)

Fake food, dishes, 2 chairs, Ikea carton

The rectangular flat carton of a still packed Ikea table rests casually on two folding chairs, constituting a strange makeshift table. Artificially reproduced leftovers, including plates and plastic cups are arranged as a profane still life. 

 

An immediate indexation of possibilities as a consummation of all desire, 2007 (right)

Colourprint on heavy solvic, 2 wooden constructions, bamboo

A blank bamboo stick spans up the gallery space. Between its two ends a color chart is hung from ceiling to floor, attached to two wooden constructions. The color chart encompasses the totality of all colors of the spectrum. A dimension line quantifies its size. The measure is complemented by a list of international color management companies, which runs from beginning to end of the chart.

 

Photo © Carsten Eisfeld

An immediate indexation of possibilities as a consummation of all desire, 2007

Colourprint on heavy solvic, 2 wooden constructions, bamboo

A blank bamboo stick spans up the gallery space. Between its two ends a color chart is hung from ceiling to floor, attached to two wooden constructions. The color chart encompasses the totality of all colors of the spectrum. A dimension line quantifies its size. The measure is complemented by a list of international color management companies, which runs from beginning to end of the chart.

 

Photo © Carsten Eisfeld

Quarry cast between a given corner and three random items, 2007 (left)

Stone cast, shoes, taperole, cardboard box

An illusory real looking fake rock sits on the floor. The rock apparently fits exactly around the corner where it is placed, as if growing around, or growing through the wall, like a strangely unexpected intruder.

 

Photo © Carsten Eisfeld

A calculated journey into a calculated experience, 2007

Fake food, dishes, 2 chairs, Ikea carton

The rectangular flat carton of a still packed Ikea table rests casually on two folding chairs, constituting a strange makeshift table. Artificially reproduced leftovers, including plates and plastic cups are arranged as a profane still life: greasy fries, half a Bakhlava and Ice Tea, among others. 

 

Photo © Carsten Eisfeld

A calculated journey into a calculated experience, 2007 (detail)

Fake food, dishes, 2 chairs, Ikea carton

The rectangular flat carton of a still packed Ikea table rests casually on two folding chairs, constituting a strange makeshift table. Artificially reproduced leftovers, including plates and plastic cups are arranged as a profane still life: greasy fries, half a Bakhlava and Ice Tea, among others. 

 

Photo © Carsten Eisfeld

Upside Down Horizontal Line, 2007

Metal trash baskets, concrete, plastic

Every sculpture of this group is made of ready-made Ikea trashcans. Some of the trashcans have a concrete anchoring on their bottom, looking as if they might have been uprooted from their original place. Assembled in different constellation they form hollow bodies, which appear to have been converted to curious showcases.

 

Photo © Carsten Eisfeld

Upside Down Horizontal Line, 2007

Metal trash baskets, concrete, plastic

Every sculpture of this group is made of ready-made Ikea trashcans. Some of the trashcans have a concrete anchoring on their bottom, looking as if they might have been uprooted from their original place. Assembled in different constellation they form hollow bodies, which appear to have been converted to curious showcases.

 

Photo © Carsten Eisfeld

Upside Down Horizontal Line, 2007 (detail)

Metal trash baskets, concrete, plastic

Every sculpture of this group is made of ready-made Ikea trashcans. Some of the trashcans have a concrete anchoring on their bottom, looking as if they might have been uprooted from their original place. Assembled in different constellation they form hollow bodies, which appear to have been converted to curious showcases.

 

Photo © Carsten Eisfeld

space made to measure object, made to measure space

Gabriel Kuri
November 17, 2007 – January 26, 2008
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In his first exhibition at Esther Schipper, Gabriel Kuri shows a group of new sculptures.

 

A blank bamboo rod extends vertically from the space’s central point, running symmetrically down towards the floor and up to the ceiling. The serial progression of the segments into infinity is limited by the boundaries of the gallery space. Between the ends of the rod, a colour scale spans the full height of the room on a wide strip of fabric: An immediate indexation of possibilities as a consummation of all desire. The scale’s quantification in terms of size is accompanied by a running list of international colour providing companies. With the help of privatised codes, every shade, every nuance of colour can now be called up, communicated and exchanged as an international equivalent. The totality of colours is finite and thus infinitely reproducible.

 

On a table still inside its cardboard packaging, casually laid across on two folding chairs, a reconstruction of the remains of a meal including plates and paper cups is arranged as a profane still life: leftover chips, baklava and ice tea. The accelerated time of consumerism, in which everything is purchased as potential rubbish, seems to have been brought to a standstill. These leftovers, lying on the cardboard box, are invested with an invisible amount of work that sets them aside from their everyday surroundings. An equivalent sighting is at work in the cast of a rock wrapping around the corner of the gallery. An old pair of shoes, a box and a roll of adhesive tape appear to have grown into the hard stone. These discarded objects, still showing traces of use, are accorded surreally long life, causing them to figure as a potential fossil.

 

Just as the principle of industrial reproduction appears inscribed in the regular segmenting of the bamboo rod, the objects are haunted by an eerie time of nature in whose cycles they do not simply disappear, instead leading a peculiar second life behind the back of the buyer in which they outlive their form as mere moments in the flow of capital.

 

In the gallery’s smaller room, against the fictitious infinity of a curved white backdrop, a small group of objects is arranged. Equipped with an awkward concrete base, like uprooted trees, IKEA wastepaper bins are stacked to form symmetrical hollow volumes. The thin steel mesh of the cylindrical objects iridesces in the moving eyes of the viewer. As the content of these bins repurposed as showcases, a twig, some twisted acrylic sheeting, or a garish strip of plastic become a sort of modest chimeras.

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