Animal que no existeix

Daniel Steegmann Mangrané
October 19, 2014 – January 18, 2015

View from outside

 

Photo © Andrea Rossetti

View from outside

 

Photo © Andrea Rossetti

Fólego, 2014

Yellow photographic filter on the windows with circular cutout

 

Photo © Andrea Rossetti

Fólego, 2014

Yellow photographic filter on the windows with circular cutout

 

Photo © Andrea Rossetti

Rosa Entrado, 2014

Photographic filter on window with circular cutout

 

Photo © Andrea Rossetti

Rosa Entrado, 2014

Photographic filter on window with circular cutout

 

Photo © Andrea Rossetti

Table With Different Objects, 1998 – ongoing (left)

Wood, raw metal, mixed media

Multiple prepared, mostly organic objects are placed across the surface of the wooden table. Among them small split twigs, dried fruits with simple geometric patterns carded in their rind, and small wooden and glass objects. The artist has also made small constructions from organic material, imagining man-made natural elements. 

 

Abstract Specific / Specific Abstract, 2013 (right)

7 posters edited in collaboration with Benjamin Meyer-Krahmer

Contributions and documents from left to right by Dora García, Charles Sanders Peirce, Jonathan Bragdon (2 posters), Walter Benjamin, Nils Hoff and Philippe Van Snick

 

Photo © Andrea Rossetti

Abstract Specific / Specific Abstract, 2013

7 posters edited in collaboration with Benjamin Meyer-Krahmer

Contributions and documents from left to right by Dora García, Charles Sanders Peirce, Jonathan Bragdon (2 posters), Walter Benjamin, Nils Hoff and Philippe Van Snick

 

Photo © Andrea Rossetti

Abstract Specific / Specific Abstract, 2013 (detail)

7 posters edited in collaboration with Benjamin Meyer-Krahmer

Contributions and documents from left to right by Dora García, Charles Sanders Peirce, Jonathan Bragdon (2 posters), Walter Benjamin, Nils Hoff and Philippe Van Snick

 

Photo © Andrea Rossetti

Table With Different Objects, 1998 – ongoing

Wood, raw metal, mixed media

Multiple prepared, mostly organic objects are placed across the surface of the wooden table. Among them small split twigs, dried fruits with simple geometric patterns carded in their rind, and small wooden and glass objects. The artist has also made small constructions from organic material, imagining man-made natural elements. 

 

Untitled, 2014 (background)

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Photo © Andrea Rossetti

Untitled, 2014

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Photo © Andrea Rossetti

Untitled, 2014

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Photo © Andrea Rossetti

Untitled, 2014

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Morfogenesis / crispis, 2014

Wall drawing, watercolor, linden branch

The wall drawing, made up of scale images of the twig (executed in brown, blue and light green water color) repeated at regular intervals and connected by thin yellow and even thinner pencil lines, creates a regular pattern from irregular forms. In its center, the actual twig blends perfectly into the two-dimensional pattern, becoming visible as three-dimensional object only when viewed from the side. 

 

Photo © Andrea Rossetti

Morfogenesis / crispis, 2014

Wall drawing, watercolor, linden branch

The wall drawing, made up of scale images of the twig (executed in brown, blue and light green water color) repeated at regular intervals and connected by thin yellow and even thinner pencil lines, creates a regular pattern from irregular forms. In its center, the actual twig blends perfectly into the two-dimensional pattern, becoming visible as three-dimensional object only when viewed from the side. 

 

Photo © Andrea Rossetti

Morfogenesis / crispis, 2014 (detail)

Wall drawing, watercolor, linden branch

The wall drawing, made up of scale images of the twig (executed in brown, blue and light green water color) repeated at regular intervals and connected by thin yellow and even thinner pencil lines, creates a regular pattern from irregular forms. In its center, the actual twig blends perfectly into the two-dimensional pattern, becoming visible as three-dimensional object only when viewed from the side. 

 

Photo © Andrea Rossetti

Kiti Ka’aeté (reverse), 2011

Slide projector, laser-cut steel slide, wall, hole, collage

The collage, assembled from realigned rhomboid sections of one photograph, is installed flush with the wall. It is illuminated from behind, creating a pattern of light at several of the collage's internal edges. Daniel Steegmann Mangrané's work often highlights the uncanny correspondences between organic and geometric shapes.

 

Photo © Andrea Rossetti

Kiti Ka’aeté (reverse), 2011 (left)

Slide projector, laser-cut steel slide, wall, hole, collage

The collage, assembled from realigned rhomboid sections of one photograph, is installed flush with the wall. It is illuminated from behind, creating a pattern of light at several of the collage's internal edges. Daniel Steegmann Mangrané's work often highlights the uncanny correspondences between organic and geometric shapes.

 

Untitled, 2014 (right)

Kriska aluminium curtain, laser-cut and powder coated steel frame 

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Photo © Andrea Rossetti

Untitled, 2014

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Photo © Andrea Rossetti

Untitled, 2014

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Fura folhas, 2014 

Dried leaf (Ficus elastica japonicum)

 

Photo © Andrea Rossetti

Untitled, 2014

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Ambient light created by yellow photographic filter on the windows

 

Photo © Andrea Rossetti

Systemic Grid #28, 2014 (left)

Gesso and pro black on board

This work uses a simplified geometric shape that is mirrored, pivoted and turned to create a pattern whose rules of construction are not immediately recognizable but adhere to a consistent self-imposed set of operations. Consequently, the shape, a rectangle from which one corner has been removed (in effect a square with a triangle), creates layers of geometric patterns. 

 

Untitled, 2014 (right)

Kriska aluminium curtain, laser-cut and powder coated steel frame

The curtains are both indications of a transition (meant to be traversed, marking the end of one space and the beginning of the next) as well as objects. Oscillating between appearing as diaphanous screen and semi-solid object, the works exist in a hybrid state between corporeality and immateriality.

 

Ambient light created by yellow photographic filter on the windows

 

Photo © Andrea Rossetti

Systemic Grid #28, 2014

Gesso and pro black on board

This work uses a simplified geometric shape that is mirrored, pivoted and turned to create a pattern whose rules of construction are not immediately recognizable but adhere to a consistent self-imposed set of operations. Consequently, the shape, a rectangle from which one corner has been removed (in effect a square with a triangle), creates layers of geometric patterns. 

 

Ambient light created by yellow photographic filter on the windows

 

Photo © Andrea Rossetti

Mano con hojas, 2013

Hologram

 

Photo © Andrea Rossetti

Mano con hojas, 2013

Hologram

 

Photo © Andrea Rossetti

Phasmides, 2012
16 mm film transferred to HD video, color, mute
For this work, the artist built a habitat with geometric shapes and twigs in which stick insects were camouflaged. Over the course of the film, a shift occurred, and the living bodies of the insects that had seemed inanimate were revealed as animate, while the inanimate shapes had become imbued with latent movement. The branches, insects and geometric shapes created a tableaux vivant that emphasized the arbitrariness of the distinction made between organic and man-made forms. 
 

Photo © Andrea Rossetti

Elegancia y renuncia, 2011

Dried leaf (ficus elastica japonicum), metal stands, slide projection (filter ref. 306 summer blue)

The work consists of a dried leaf held at its stem by a metal stand and a projector shining light through a prepared slide. Two groups of tiny differently sized circles have been incised in the somewhat elliptical (lanceolate) shaped ficus leaf. The artist's practice often highlights the uncanny correspondences between organic and geometric shapes.

 

Photo © Andrea Rossetti

Elegancia y renuncia, 2011

Dried leaf (ficus elastica japonicum), metal stands, slide projection (filter ref. 306 summer blue)

The work consists of a dried leaf held at its stem by a metal stand and a projector shining light through a prepared slide. Two groups of tiny differently sized circles have been incised in the somewhat elliptical (lanceolate) shaped ficus leaf. The artist's practice often highlights the uncanny correspondences between organic and geometric shapes.

 

Photo © Andrea Rossetti

Elegancia y renuncia, 2011

Dried leaf (ficus elastica japonicum), metal stands, slide projection (filter ref. 306 summer blue)

The work consists of a dried leaf held at its stem by a metal stand and a projector shining light through a prepared slide. Two groups of tiny differently sized circles have been incised in the somewhat elliptical (lanceolate) shaped ficus leaf. The artist's practice often highlights the uncanny correspondences between organic and geometric shapes.

 

Photo © Andrea Rossetti

Kiti Ka’aeté (light drawings), 2013 (detail)

Slide projection, laser-cut slides

27 drawings

 

Photo © Andrea Rossetti

Kiti Ka’aeté (light drawings), 2013 (detail)

Slide projection, laser-cut slides 

27 drawings

 

Photo © Andrea Rossetti

Ramita Partida, 1998

Plum branch, cut

Delicate sculptural works consisting of altered organic material or resembling organic objects like bark, leaves and twigs produced in the last years explore the creation and migration of forms between different formal registers in nature, art and architecture. 

 

Photo © Andrea Rossetti

Morfogenesis / crispis, 2014
Wall drawing, watercolor, linden branch

 

Photo © Andrea Rossetti

Morfogenesis / crispis, 2014

Wall drawing, watercolor, linden branch

 

Photo © Andrea Rossetti

Orange Oranges 2 (Medium Lemon/Summer Blue), 2004

Steel modular structure, le photographic filter (ref. 306 medium lemon and ref. 140 summer blue), Indian silk curtain, stools, table, knifes, juicers, cups, and fresh oranges

Ambient light created by blue filters in front of windows

For the spectators outside of the cabin, their surroundings appear tinted blue, and people inside seem to be part of the work, while for the viewers inside everything that surrounds them is bright green. Because of the physiological effects on human vision, viewers leaving the cabin will perceive the outside in a different color as well. The effect also may impact the response to the orange juice tasted.

 

Photo © Andrea Rossetti

Orange Oranges 2 (Medium Lemon/Summer Blue), 2004

Steel modular structure, le photographic filter (ref. 306 medium lemon and ref. 140 summer blue), Indian silk curtain, stools, table, knifes, juicers, cups, and fresh oranges

Ambient light created by blue filters in front of windows

For the spectators outside of the cabin, their surroundings appear tinted blue, and people inside seem to be part of the work, while for the viewers inside everything that surrounds them is bright green. Because of the physiological effects on human vision, viewers leaving the cabin will perceive the outside in a different color as well. The effect also may impact the response to the orange juice tasted.

 

Photo © Andrea Rossetti

Orange Oranges 2 (Medium Lemon/Summer Blue), 2004

Steel modular structure, le photographic filter (ref. 306 medium lemon and ref. 140 summer blue), Indian silk curtain, stools, table, knifes, juicers, cups, and fresh oranges

Ambient light created by blue filters in front of windows

For the spectators outside of the cabin, their surroundings appear tinted blue, and people inside seem to be part of the work, while for the viewers inside everything that surrounds them is bright green. Because of the physiological effects on human vision, viewers leaving the cabin will perceive the outside in a different color as well. The effect also may impact the response to the orange juice tasted.

 

Photo © Andrea Rossetti

Animal que no existeix

Daniel Steegmann Mangrané
CRAC Alsace, Altkirch
October 19, 2014 – January 18, 2015
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Animal que no existeix inhabits an immaterial, abstract and unstable space.

 

Animal que no existeix wanders through Daniel Steegmann Mangrané's exhibition, developing in it, as a process of exchange and operations of transformation.

 

Animal que no existeix is a perceptible space with no object.

 

Animal que no existeix is made up of relations between subjects (entities) and exchanges of perspectives which engage the viewer in visualizing the potential for transformation of the phenomena perceived.

 

Animal que no existeix spatializes viewpoints in the exhibition, and by being one with it, the viewer tries to adopt them … these viewpoints.

 

Animal que no existeix may (at times simultaneously) use drawing, collage, cut-outs, film, and installation, and develop organically to achieve the right level of abstraction allowing it to migrate from one piece to the other.

 

Animal que no existeix overlays different strata of relations and ramifications. Geometric grids, and in the middle of these grids, a lozenge. A combination of V-shaped chevrons that can be multiplied ad infinitum. An element structuring the abstract motifs of the “people who draw” of Amazonia, referring to the myth of the Great Anaconda— a seasoned, chevron-striped snake which allegedly taught the Indians how to weave and draw.

 

Animal que no existeix makes the wall vibrate and crunch and dissolves in the abstract space of thought. Animal que no existeix is an ambiguous song which has lost an S’. Animal que no existeix is an animal which does not exist.

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