Galerie Nagel Draxler

Mark Dion "To Watch, to Cut, to Capture, to Kill, to Collect"

Eröffnung: Mittwoch, 10. April 2019, 18-21 Uhr
Opening: Wednesday, 10 April, 6–9 pm

Galerie Nagel Draxler
Elisenstraße 4-6
50667 Köln

Öffnungszeiten / Hours:
Mittwoch – Freitag 11–18 Uhr / Wednesday – Friday 11am–6pm
Samstag 11–16 Uhr / Saturday 11am–4pm

MD_Titel
MARK DION
"Memory Box", 2019
Mixed Media
220 x 310 x 30 cm

Foto: Simon VogelMARK DION
"To Watch, to Cut, to Capture, to Kill, to Collect"
Installationsansicht 
Galerie Nagel Draxler, Köln 2019

Foto: Simon VogelMARK DION
"To Watch, to Cut, to Capture, to Kill, to Collect"
Installationsansicht 
Galerie Nagel Draxler, Köln 2019

Foto: Simon VogelMARK DION
"To Watch, to Cut, to Capture, to Kill, to Collect"
Installationsansicht 
Galerie Nagel Draxler, Köln 2019

Foto: Simon VogelMARK DION
"The Amateur Naturalist (1980s)", 2019
Mixed media
Cabinet: 190 x 130 x 48 cm
Figure: 190 x 70 x 45 cm

Foto: Simon VogelMARK DION
"The Amateur Naturalist (1980s)", 2019
Detail

Foto: Simon VogelMARK DION
"The Amateur Naturalist (1980s)", 2019
Detail

Foto: Simon VogelMARK DION
"The Amateur Naturalist (1980s)", 2019
Detail

Foto: Simon VogelMARK DION
"Cabinet of Marvels", 2019
Mixed media
190 x 130 x 48 cm

Foto: Simon VogelMARK DION
"Cabinet of Marvels", 2019
Detail

Foto: Simon VogelMARK DION
"Cabinet of Marvels", 2019
Detail

Foto: Simon VogelMARK DION
"Cupboard of Natural Wonders", 2019
Mixed media
190 x 130 x 48 cm

Foto: Simon VogelMARK DION
"Cupboard of Natural Wonders", 2019
Detail

Foto: Simon VogelMARK DION
"Cupboard of Natural Wonders", 2019
Detail

Foto: Simon VogelMARK DION
"Cupboard of Natural Wonders", 2019
Detail

Foto: Simon VogelMARK DION 
"To Watch, to Cut, to Capture, to Kill, to Collect", 2019
Mixed media
205 x 33 x 70 cm

Foto: Simon VogelMARK DION 
"To Watch, to Cut, to Capture, to Kill, to Collect", 2019
Mixed media
205 x 33 x 70 cm

Foto: Simon VogelMARK DION
"To Watch, to Cut, to Capture, to Kill, to Collect"
Installationsansicht 
Galerie Nagel Draxler, Köln 2019

Foto: Simon VogelMARK DION
"List of Diminutive Objects", 2015
Color pencil on paper
29 x 34,3 cm (framed)MARK DION
"To Watch, to Cut, to Capture, to Kill, to Collect", 2019
Color pencil on paper
34 x 39 cm (framed)MARK DION
"For Comparison of Scale", 2018
Micron pen on paper
32,2 x 41,4 cm (framed)MARK DION
"The Witches‘ Cottage", 2015
Color pencil on paper
45 x 40 cm (framed)MARK DION
"The Crossroads", 1998
Ink on paper
37,5 x 36 cm (framed)MARK DION
"New England Cabinet of Marine Debris", 2018
Color pencil on paper
37,5 x 34 cm (framed)MARK DION
"The Twisted Harpoon", 2014
Color pencil on paper
22 x 29 cm (framed)MARK DION
"Floating History Laboratory Archaeology Field Station – History LAB", 2014
Color pencil on paper
38,5 x 29 cm (framed)MARK DION
"Naval Artifacts", 2014
Color pencil on paper
32 x 42 cm (framed)MARK DION
"The phantasmal Cabinet", 2016
Ink, collage, micron pen and highlighter on paper
29 x 48,5 cm (framed)MARK DION
"Phantom Archeology", 2015
Ink, collage, micron pen and highlighter on paper
23,5 x 52,5 cm (framed)MARK DION
"Invasive Plant Eradication Unit (field rover)", 2008
Color pencil on paper
25,5 x 31,5 cm (framed)MARK DION
"The Magpie", 2015
Color pencil on paper
30 x 27 cm (framed)MARK DION
"The Unicorn Horn", 2014
Color pencil on paper
32 x 32 cm (framed)MARK DION
"Concerned Hunting", 2017
Papercut
33 x 39 cm (framed)MARK DION
"Ostrich Egg", 2014
Felt pen on paper
39,5 x 33 cm (framed)MARK DION
"Excavation", 2000
Color pencil on paper
42 x 59 cm (framed)MARK DION
"The school", 2018
Color pencil on paper
33 x 35,5 cm (framed)MARK DION
"Monster", 1998
Color pencil on paper
20 x 25 cm (framed)MARK DION
"Adventures in the Dark Museum", 2014
Color pencil on paper
22 x 29 cm (framed)MARK DION
"Cabinet – Equipment Locker", 2014
Color pencil on paper
37,5 x 39 cm (framed)MARK DION
"Buffalo Bayou-Invasive plant eradication unit", 2011
Color pencil on paper
52,9 x 42,9 cm (framed)MARK DION
"Study Of The Smart Museum Bug Hunt", 2000
Color pencil on paper
33,5 x 38,5 cm (framed)MARK DION
"When Dinosaurs Ruled the Earth", 2013
Color pencil on paper
32,5 x 42 cm (framed)MARK DION
"Encrustation", 2012
Color pencil on paper
32 x 42 cm (framed)MARK DION
"Bone coral", 2017
Color pencil on paper
44 x 32 cm (framed)MARK DION
"The Plush Snake", 2018
Color pencil on paper
25,7 x 28,5 cm (framed)MARK DION
"The Herons", 2018
Watercolor and pencil on paper
21,5 x 33 cm (framed)MARK DION
"Crocket (the Frontiersman at Home)", 1999
Color pencil on paper
36 x 28,5 cm (framed)MARK DION
"The Big Game Hunter At Home", 1992
Color pencil on paper
35 x 27,5 cm (framed)MARK DION
"Gesellschaft der Amateur-Ornithologen Clubhaus", 2009
Aquarell on paper
25,5 x 31,5 cm (framed)MARK DION
"Wonder Workshop", 2014
Color pencil on paper
15 x 20,5 cm (framed)MARK DION
"Invasive Plant Eradication Unit", 2008
Color pencil on paper
25,5 x 31,5 cm (framed)MARK DION
"Jagdhütte (interior studies)", 2000
Color pencil on paper
29 x 36 cm (framed)MARK DION
"New England Digs- New Bedford Massachusetts", 2000
Color pencil on paper
46 x 38,5 cm (framed)MARK DION
"Chart #27, Ornithology for Birds", 2018
Micronpen on paper
44,5 x 39,5 cm (framed)MARK DION
"The Bone Archive: The Academy of Things", 2014
Color pencil on paper
37 x 47 cm (framed)MARK DION
"Magic Lantern Slides: The Academy of Things", 2014
Color pencil and collage on paper
37 x 47 cm (framed)MARK DION
"Anacostia River Wet Lab and Art Studio"(classroom view), 2014
Color pencil on paper
37,5 x 47 cm (framed)MARK DION
"Anacostia River Wet Lab and Art Studio", 2014
Color pencil on paper
37,5 x 47 cm (framed)MARK DION
"Anacostia River Wet Lab and Studio, The Tidal Wetland", 2014
Color pencil on paper
54,5 x 29 cm (framed)MARK DION
"The Dinosaur", 2014
Color pencil on paper
24,5 x 35 cm (framed)MARK DION
"The Plush Snake", 2018
Watercolor and india ink on paper
24,5 x 26 cm (framed)MARK DION
"Great Blue Heron", 2019
Watercolor on paper
27,5 x 20,5 cm (framed)MARK DION
"Collared Peccary", 1992
Screenprint on aluminium
35 x 60 cmMARK DION
"Spider Monkey", 1992
Screenprint on aluminium
35 x 60 cmMD_Shark Barr, 2017, 5-30MD_Phantoms_of_Lost_Museums_2014_2000px_72dpiMD_The Stork, 2017, 23-30MD_Encrustation_2014_2000px_72dpiMD_Paris Disneyland(for Colin de Land), 2017MD_Young Demonologists,2016,Ed 17-30MARK DION
"Harpoons", 2016
Screenprint
AP II/VIII
37,5 x 29,5 cm (framed)MARK DION
"Blood Coral", 2013
Screenprint
7/20
45 x 39,5 cm (framed)MARK DION
"Arbor Vitae", 2017
Screenprint
AP IV/VI
39,4 x 34,2 cm (framed)MARK DION
"The Trilobite", 2016
Screenprint
3/30
38 x 50 cm (framed)MARK DION
"New England Digs", 2004
Etching and silkscreen 
AP
51,5 x 42 cm (framed)MARK DION
"The Young Ichthylogist", 2016
Screenprint 
AP III/III
34 x 36 cm (framed)MARK DION
"Et in Arcadia Ego", 2004
Silkscreen on paper
8/20
79 x 59,5 cm (framed)MARK DION
"Hic Existo Monstrum", 2004
Silkscreen on paper
8/20
79 x 59,5 cm (framed)MARK DION
"Summum Bonum—Quod Est Magiae, Cabale Alchymae et Artis", 2004
Silkscreen on paper
8/20
79 x 59,5 cm (framed)

Pressetext

Bereits 1991 präsentierte Mark Dion in der Galerie Christian Nagel seine Installation Frankenstein – In the Age of Biotechnology. Für seine nun siebte Einzelausstellung in der Galerie Nagel Draxler kehrt er mit einer Gruppe von Skulpturen, Installationen und Zeichnungen nach Köln zurück. Seine Ausstellung To Watch, To Cut, to Capture, to Kill, to Collect befasst sich mit der Kultur des Sammelns, angefangen beim „age of the marvellous“ über die Zeit der Kolonialreisenden bis hin zum exzessiven Materialismus von heute.

Seit den 1980er Jahren beschäftigt sich Dion in seiner Kunst mit dem Sammeln als kulturelle Praxis sowie mit der kulturellen Repräsentation von Natur.
In seiner aktuellen Ausstellung liegt der Fokus nun auf der Faszination von Raritäten und Kuriositäten sowie auf den melancholischen Aspekten des Sammelns. Gegenstände und Objekte, die aus ihrem ursprünglichen Zusammenhang gerissen werden, die vom ursprünglichen Besitzer weggeworfen wurden oder ihm verloren gingen, werden gefunden und gesammelt und bekommen dadurch eine neue Funktion und eine neue Bedeutung.
Zu den Objekten, die Mark Dion für seine Werke verwendet, gehören alte Bücher, Spielzeug, objets trouvés, ausgestopfte Tiere, gestrandete Objekte, Werkzeuge und noch vieles mehr.
Eine für die Ausstellung neu geschaffene Installation besteht aus hunderten von kleineren und größeren Schachteln, die mit verschiedensten kuriosen Objekten befüllt sind.
Die Botschaft dieser Arbeit und der gesamten Ausstellung soll dabei nicht das Trauern um die Vergangenheit sein. Es geht vielmehr um die Melancholie des Abschieds, die die emotionale Energie für einen Neubeginn bereitstellt.

Schon seit Beginn seines künstlerischen Schaffens machen auch Zeichnungen einen wesentlichen Teil von Dions Œuvre aus. Während die stets in blau und rot gehaltenen Zeichnungen zu Anfang als Entwürfe für später umgesetzte Skulpturen und Installationen dienten, entwickelten sie mit der Zeit eine Eigendynamik und bilden heute einen wichtigen und eigenständigen Teil seiner Arbeit.
__________________

In 1991 Mark Dion had his first solo exhibition at Galerie Christian Nagel where he presented his installation Frankenstein – In the Age of Biotechnology. Now, for his seventh solo exhibition To Watch, To Cut, to Capture, to Kill, to Collect at Galerie Nagel Draxler, the artist returns to Cologne with a group of sculptures, installations and drawings. His exhibition deals with the culture of collecting from the age of the marvellous through the period of traveling colonial naturalist, to today’s excess of material good.

Since the 1980s Mark Dion’s art concentrates on collecting as a cultural practice as well as the cultural representation of nature. The focus of his current exhibition lays on the fascination of rarities and curiosities as well as the melancholic aspects of collecting. Objects that are torn out of their original context, thrown away or lost by their former owners are found and collected and are given a new function and meaning. These objects comprise old books, toys, objets trouvés, tools and much more.
A new installation created for this exhibition consists of hundreds of small boxes containing various curious objects.
However, the message behind this installation and the entire exhibition is not to mourn the past, it rather underlines the melancholy of farewell that provides emotional energy for a new beginning.

Drawings have also been an essential part of Dion’s Œuvre since the beginning of Mark Dion’s artistic career. Whereas his drawings served first as sketches for sculptures and installations, they have developed a momentum of their own and today they form an important and independent part of his work.