Galerie Nagel Draxler

FIAC 2019 "FIAC 2019"

fiac!
17 – 20 October, 2019

Galerie Nagel Draxler / Booth C16
& fiac Projecs at Petit Palais

GRAND PALAIS
Avenue Winston Churchill
75008 Paris

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Exhibition view
fiac! 2019
Galerie Nagel Draxler / Booth C16

Foto: Simon VogelExhibition view
fiac! 2019
Galerie Nagel Draxler / Booth C16

Foto: Simon VogelExhibition view
fiac! 2019
Galerie Nagel Draxler / Booth C16

Foto: Simon VogelLuke Willis Thompson
"Adjacency (United States v. Slager)", 2019
Hand printed colour photograph on Kodak Endura Premier, Diasec, Alu-Dibond
222 x 174 cm


Background information:

The shooting of Walter Scott occurred on April 4, 2015, in North Charleston, South Carolina, following a daytime traffic stop for a non-functioning brake light. Scott, an unarmed man, was shot and killed by Michael Slager, a North Charleston police officer. Slager was charged with murder after a video surfaced which showed him shooting Scott from behind while Scott was fleeing, and which contradicted his police report. The race difference led many to believe that the shooting was racially motivated, generating a widespread controversy.

The case was independently investigated by the South Carolina Law Enforcement Division (SLED). The Federal Bureau of Investigation (FBI), the Office of the U.S. Attorney for the District of South Carolina, and the Justice Department's Civil Rights Division conducted their own investigations. In June 2015, a South Carolina grand jury indicted Slager on a charge of murder. He was released on bond in January 2016. In late 2016, a five-week trial ended in a mistrial due to a hung jury. In May 2016, Slager was indicted on federal charges including violation of Scott's civil rights and obstruction of justice. In a May 2017 plea agreement, Slager pleaded guilty to federal charges of civil rights violations, and he was returned to jail pending sentencing. In
return for his guilty plea, the state's murder charges were dropped.

In December 2017, Slager was sentenced to 20 years in prison, with the judge determining the underlying offense was second-degree murder. 

Foto: Simon VogelExhibition view
fiac! 2019
Galerie Nagel Draxler / Booth C16

Foto: Simon VogelLuke Willis Thompson
"Adjacency (United States v. Slager)", 2019
Hand printed colour photograph on Kodak Endura Premier, Diasec, Alu-Dibond
222 x 174 cm


Background information:

The shooting of Walter Scott occurred on April 4, 2015, in North Charleston, South Carolina, following a daytime traffic stop for a non-functioning brake light. Scott, an unarmed man, was shot and killed by Michael Slager, a North Charleston police officer. Slager was charged with murder after a video surfaced which showed him shooting Scott from behind while Scott was fleeing, and which contradicted his police report. The race difference led many to believe that the shooting was racially motivated, generating a widespread controversy.

The case was independently investigated by the South Carolina Law Enforcement Division (SLED). The Federal Bureau of Investigation (FBI), the Office of the U.S. Attorney for the District of South Carolina, and the Justice Department's Civil Rights Division conducted their own investigations. In June 2015, a South Carolina grand jury indicted Slager on a charge of murder. He was released on bond in January 2016. In late 2016, a five-week trial ended in a mistrial due to a hung jury. In May 2016, Slager was indicted on federal charges including violation of Scott's civil rights and obstruction of justice. In a May 2017 plea agreement, Slager pleaded guilty to federal charges of civil rights violations, and he was returned to jail pending sentencing. In
return for his guilty plea, the state's murder charges were dropped.

In December 2017, Slager was sentenced to 20 years in prison, with the judge determining the underlying offense was second-degree murder.Martha Rosler
"It lingers", 1993
C-Prints, newspaper clippings
360 x 370 cm


Rosler describes 'It lingers' as "a project on war reportage in the form of a giant tableau of images, a meditation on the use and abuse of images of war in the mass press and movies." This photo-text work comprises iconic images of war – most notably, the planting of the United States flag on Iwo Jima – taken from popular culture and news media. The combination of factual and fictive material, including press reports from Amnesty International and images from films such as 'Rambo', illustrates the range of sentiments provoked by media representations of war – from overt celebration to the covert militarization of everyday life. This work was commissioned for an exhibition on war in Graz, Austria, which bordered Yugoslavia, then in the process of violent dissolution. Its main focus was on the Balkan Wars. Small newspaper maps depict then-ongoing global-conflict zones including Sarajevo and Israel/Palestine.

Foto: Simon VogelKader Attia
"Olivia de Blida (Olivia from Blida)", 2000/2018
C-Print, Diasec, Alu-Dibond
220 x  145 cm

Foto: Simon VogelExhibition view
fiac! 2019
Galerie Nagel Draxler / Booth C16

Abdulnasser Gharem
"Road to Makkah", 2019
Digital print and lacquer paint on rubber stamps on aluminum
104 x 305 cm

&

Heimo Zobernig

Untitled (HZ1988-039), 1988
Cardboard, Lacquer
102 x 17 x 17 cm

Untitled (HZ1988-037b), 1988
Cardboard, Laquer
117 x 16 x 16 cm

Untitled (HZ1988-037a), 1988
Cardboard, Laquer
100 x 15 x 15 cm

Foto: Simon VogelRenée Green
"Space Poem #5 (Years & Afters)", 2015
28 single-sided banners
56 x 44 cm


"Space Poem #5 (Years & Afters)" (2015) is a series of eight double-sided deko-text-banners, which range in alternating chartreuses, magentas, violets, neon yellows, and so on. The color schemes as well as the banners themselves seem to riff on well-known figurative devices Renée Green has deployed throughout her career. The banners are divided into two types— those listing a succession of years between Schindler’s and Green’s major life events and others containing cryptic passages (e.g., “after the last cold mountain,” “after the quarrel,” “after
Melville,” and “after I am dead darling”). Beginning in the year of Schindler’s birth, 1897, each banner alternates within a series that leads up until the year of the exhibition, 2015. These passages suggest a doubling back onto prior works, as the quotes appear to be retrieved from "Selected Life Indexes" (2005), again reinforcing the artwork itself as an index of time.

Foto: Simon VogelMartin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cm

Foto: Simon VogelExhibition view
fiac! 2019
Galerie Nagel Draxler / Booth C16

Martin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cm

Foto: Simon VogelMartin Kippenberger
"Charlie Chaplin", 1986

Installation view:
"Du kommst auch noch in Mode (Dialog mit der Jugend II), 1986
Achim Kubinski, StuttgartDetail:
Martin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cmDetail:
Martin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cmDetail:
Martin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cmDetail:
Martin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cmDetail:
Martin Kippenberger
"Charlie Chaplin", 1986
Mural painting, acrylics on door
with 13 framed s/w photographs by Ursula Böckler
365 x 295 cmFIAC Projects at Petit Palais:

Heimo Zobernig
Untitled, 1991
Installation of 16 cardboard cubes
Dimension variable

The historically significant installation Untitled (1991) consists of 16 cardboard cubes of different sizes. Similar to the principle of matryoshka, the cubes gradually increase in size, each format being longer on the sides by approximately 2.5 cm.
From the very beginning, cardboard sculptures have been key works in Zobernig’s œuvre, a reaction to minimal sculpture typical of the 70s and 80s. As opposed to expensive materials and perfectly finished surfaces, he used inexpensive materials such as cardboard and lacquer. The cubes are handmade and are intentionally left with imperfections.

Foto: Simon VogelFIAC Projects at Petit Palais:

Heimo Zobernig
Untitled, 1991
Installation of 16 cardboard cubes
Dimension variable

The historically significant installation Untitled (1991) consists of 16 cardboard cubes of different sizes. Similar to the principle of matryoshka, the cubes gradually increase in size, each format being longer on the sides by approximately 2.5 cm.
From the very beginning, cardboard sculptures have been key works in Zobernig’s œuvre, a reaction to minimal sculpture typical of the 70s and 80s. As opposed to expensive materials and perfectly finished surfaces, he used inexpensive materials such as cardboard and lacquer. The cubes are handmade and are intentionally left with imperfections.

Foto: Simon VogelFIAC Projects at Petit Palais:

Heimo Zobernig
Untitled, 1991
Installation of 16 cardboard cubes
Dimension variable

The historically significant installation Untitled (1991) consists of 16 cardboard cubes of different sizes. Similar to the principle of matryoshka, the cubes gradually increase in size, each format being longer on the sides by approximately 2.5 cm.
From the very beginning, cardboard sculptures have been key works in Zobernig’s œuvre, a reaction to minimal sculpture typical of the 70s and 80s. As opposed to expensive materials and perfectly finished surfaces, he used inexpensive materials such as cardboard and lacquer. The cubes are handmade and are intentionally left with imperfections.

Foto: Simon VogelFIAC Projects at Petit Palais:

Heimo Zobernig
Untitled, 1991
Installation of 16 cardboard cubes
Dimension variable

The historically significant installation Untitled (1991) consists of 16 cardboard cubes of different sizes. Similar to the principle of matryoshka, the cubes gradually increase in size, each format being longer on the sides by approximately 2.5 cm.
From the very beginning, cardboard sculptures have been key works in Zobernig’s œuvre, a reaction to minimal sculpture typical of the 70s and 80s. As opposed to expensive materials and perfectly finished surfaces, he used inexpensive materials such as cardboard and lacquer. The cubes are handmade and are intentionally left with imperfections.

Foto: Simon VogelFIAC Projects at Petit Palais:

Heimo Zobernig
Untitled, 1991
Installation of 16 cardboard cubes
Dimension variable

The historically significant installation Untitled (1991) consists of 16 cardboard cubes of different sizes. Similar to the principle of matryoshka, the cubes gradually increase in size, each format being longer on the sides by approximately 2.5 cm.
From the very beginning, cardboard sculptures have been key works in Zobernig’s œuvre, a reaction to minimal sculpture typical of the 70s and 80s. As opposed to expensive materials and perfectly finished surfaces, he used inexpensive materials such as cardboard and lacquer. The cubes are handmade and are intentionally left with imperfections.

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