A Green Archipelago

Isa Melsheimer
June 2 – August 28, 2012

Stütze, 2012

Highly polished high-grade steel

 

Minimum, 2012

Mirrored pillar

 

The presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character. The artist presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario.

 

Photo © Andrea Rossetti

Bank, 2012 (left)

Reinforced concrete, plants, wood

 

Minimum, 2012

Mirrored pillar

 

The presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character. The artist presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario. 

 

Photo © Andrea Rossetti

Liege / Bench, 2012

Reinforced concrete, gouache on paper
 
The presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character. The artist presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario.
 

Photo © Andrea Rossetti

From back to front:  

 

Umlauftank, 2012
Reinforced concrete, indoor plants, gouache

 

Frei Otto / westliches Haus, 2012

Frei Otto / östliches Haus, 2012

Both works: fibrous grit, reinforced concrete, fat lava vases

 

Fuchs / Kool Killer, 2012

Fuchs / Grünstreifen, 2012

Both works: fox fur, fabric, thread

 

Ungers, 2012 (left)

Stirling, 2012 (front)

Both works: fibrous grit, reinforced concrete)

 

The presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character. The artist presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario.

 

Photo © Andrea Rossetti

Ungers, 2012 (front)

Fibrous grit, reinforced concrete

 

Frei Otto / westliches Haus, 2012 (center, left)

Frei Otto / östliches Haus, 2012 (center, right)

Both works: fibrous grit, reinforced concrete, fat lava vases

 

Umlauftank, 2012 (back)

Reinforced concrete, indoor plants, gouache

 

The presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character. The artist presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario.

 

Photo © Andrea Rossetti

Fuchs / Kool Killer, 2012 (front)
Fuchs / Grünstreifen, 2012
Both works: fox fur, fabric, thread

 

Stirling, 2012 (center)
Fibrous grit, reinforced concrete

 

Nr 295, 2012 (wall, left)
Nr 294, 2012 (wall, right)
Both works: gouache on paper

 

The presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character. The artist presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario.

 

Photo © Andrea Rossetti

A Green Archipelago

Isa Melsheimer
June 2 – August 28, 2012
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Esther Schipper is pleased to present the first solo exhibition of Isa Melsheimer’s work in the gallery.

 

With A GREEN ARCHIPELAGO, the artist, who lives in Berlin, refers directly to the architectural environment of the gallery. With ten sculptures and five gouaches, Isa Melsheimer cites the Neue Nationalgalerie directly opposite, designed by Mies van der Rohe, and abstracts it into an individual component, while also referring to the adjacent architecture of James Stirling, Frei Otto and Oswald Mathias Ungers, which are juxtaposed as isolated modules from the urban area.

 

This fragmentation is already suggested by the exhibition title, which clearly alludes to Ungers’ and Rem Koolhaas’ 1977 study Berlin as Green Archipelago, picking up the associated concept of urban islands and implementing it in terms of formal aesthetics. In this context, the presence of materials such as concrete, polished steel and mirrors is particularly apparent in the exhibition. But the architectural basis of the materials and forms has also been modified by placing plants and vases on the objects or supplemented with meticulous animal drawings, thus undermining the model character.

 

With A GREEN ARCHIPELAGO, Isa Melsheimer presents a scenario that filters out and juxtaposes historic architectural structures and even intervenes with the architecture. Possibilities of autonomy and appropriation are formulated, animating the scenario.

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