Art Basel 2016Hall 2.1. booth S18PREVIEW

Barbara Wiengallery & art bookshopSchöneberger Ufer 65, 3rd floor10785 BerlinGermany

fon +49-30-28385352 fax -50mobil +49-173-6156996bw@barbarawien.dewww.barbarawien.de

Nina Canell

Mariana Castillo Deball

Jimmie Durham

Michael Rakowitz

Tomas Schmit

Haegue Yang

Nina CanellInteriors (Salty) 2 of 7 2013White dishcloth, salt, water, wooden frame (series of 7 different pieces)Weißer Spüllappen, Salz, Wasser, Holzrahmen (Serie mit 7 verschiedenen Teilen)42,5 x 42,5 cm

Nina CanellBrief Syllable (Acidic)2016Subterranean fibre optic cable, acrylic, concreteUnterirdisches Glasfaserkabel, Acryl, Beton122 x 15 x 16 cm

DetailsNina CanellBrief Syllable (Acidic) 2016

Nina CanellAttenuate, Attenuate2016Copper wireKupferdraht325 x 250 cm

DetailNina CanellAttenuate, Attenuate2016

Mariana Castillo DeballMathematical distortions2014Plaster, pigments, rabbit glue, aluminumGips, Pigmentfarbe, Glutinleim, Aluminium94 x 70 x 70 cm

DetailMariana Castillo DeballMathematical distortions2014

Mariana Castillo DeballPochote2015Acrylic on canvasAcryl auf Leinwand180 x 40

Mariana Castillo DeballSpine2015Acrylic on canvasAcryl auf Leinwand180 x 40

Exhibition view / Ausstellungsansicht Reliefpfeiler, Barbara Wien, Berlin, 2015

Mariana Castillo DeballIlium2015Acrylic on canvasAcryl auf Leinwand180 x 40

Mariana Castillo DeballIschium2015Acrylic on canvasAcryl auf Leinwand180 x 40

Mariana Castillo DeballPubis2015Acrylic on canvasAcryl auf Leinwand180 x 40

Jimmie DurhamElectric 1995Steel cable, plastic, crawfish claw, metal, wood, outletStahlkabel, Kunststoff, Krebsschere, Metall, Holz, SteckdoseDimensions variable / Maße variabel

Jimmie DurhamScruples2014Mixed mediaCa. 35 x 35 x 110 cm

DetailJimmie DurhamScruples2014

DetailJimmie DurhamScruples2014

Michael RakowitzThe invisible enemy should not exist2007 - ongoingPlinth with perspex cover; 6 objects from found Middle Eastern packaging and newspapers, glue, museum labels140 x 60 x 54 cm

DetailsThe invisible enemy should not exist2007 - ongoing

Michael RakowitzThe invisible enemy should not exist2007 - ongoingPlinth with perspex cover; 6 objects from found Middle Eastern packaging and newspapers, glue, museum labels140 x 60 x 54 cm

DetailsThe invisible enemy should not exist2007 - ongoing

Tomas Schmit„i remember when i was a b of c.“ (gertrude) (# 110)1972Drawing; felt pen, pencil & colour pencils, ink, collageZeichnung; Filz-, Blei- und Farbstift, Tusche, Collage61 x 43 cm

Michael RakowitzThe invisible enemy should not exist2007 - ongoingWall-mounted vitrine with perspex cover; 7 objects from found Middle Eastern packaging and newspapers, glue, museum labels 23 x 110 x 23 cm

Tomas Schmitso stellen sich viren salmonellen vor (# 454)30.12.1995Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift52 x 43 cm

Tomas Schmitadriano olivetti, George maciunas, ... (# 430)20.8.1995Drawing, pencil & colour pencilsZeichnung; Blei- und Farbstift52 x 43 cm

Tomas Schmitwas wir haben (# 489)27.12.1998Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift43 x 30,5 cm

Tomas Schmitwas wir haben, z.b. diese hawaiische raupe (# 491)2.1.1999Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift43 x 30,5 cm

Tomas Schmitan alle: farben werden wöchentlich neu verteilt! (# 504)13.3.1999Drawing, pencil & colour pencilsZeichnung, Blei- & Farbstift43 x 30,5 cm

Tomas Schmitformen vierzehntäglich (# 505)14.3.1999Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift43 x 30,5 cm

Tomas Schmitvom ursprung des apfelbaums (# 545)5.2.2002Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift43 x 30,5 cm

Tomas Schmitmacht es das mit dem einen und das mit dem anderen auge? (# 537)25.9.2001Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift52 x 43 cm

Haegue YangLacquer Paintings, 1990ies - ongoing

Lacquer paintings are made of wood varnish poured on wooden panels. The process of the lacquer layers is determined by various methods. On the one hand there are compositional elements that are decided by the artist, such as the choice of matt or gloss varnish, the thickness of the lacquer layer and the choice of objects that appear in the varnish layers. The lacquer paintings Sesame Summer-Harvest, Shiso Summer-Harvest, Sesame Summer-Harvest – thin und Sesame Summer-Harvest – thin dripping include sesame and Shiso leaves of plants growing on the balcony of the artist, means that they are from the artist’s immediate environment. On the other hand the production of lacquer paintings is an open process because it requires a long drying period outdoors. Meanwhile dust, insects, hair and other objects fall and get sealed in the layers of varnish. Similarly, rain affects the work production, as raindrops cause an unevenness. The result is an unique texture on the varnish surface as you can see in Rain Gravity Mono I. Stored tilted or leaned against the wall due to space constrain, the lacquer paintings often experience changes of the surface, it leads to bulges or winkles – as you can see in Gravity Mono – Ikea Cupboard. Here the lacquer layers are mounted on a door of an Ikea cupboard that was left after a new kitchen has been built.

The lacquer paintings are not intended to pursue the notion of painting in a classical sense, however a pictorial quality is generated. Yang employs her own extraordinary and not media-related way of working. Her works often incorporate elements that are unfamiliar and distant to her, unless she refers to her own circumstances. For Yang this process is an appropriation of objects/circumstances by observing the domestic sphere, a kind of ‘domestification’ – which is reoccurring in the production of lacquer paintings. The not yet dried varnish surface records the influence of these alien yet neighboring or surrounding elements over the time, thus reflecting the environment, weather, season as well as location.

Detail from Shiso Summer-Harvest

Tomas Schmitvom ursprung des apfels (# 546)5.2.2002Drawing: Pencil & colour pencilsZeichnung: Blei- & Farbstift43 x 30,5 cm

Haegue YangCrocodile Tears in Riverside Woods2016Wooden panel, wood varnish, sesame leaves, graph paperSpanplatte, Holzklarlack, Haar, Rosmarinblatt, Shiso-Blätter, Staub30 x 100 cm

Haegue YangOld Twosome Crops – Sesame and Shiso2016Wooden panel, wood varnish, sesame leaves, shiso leavesSpanplatte, Holzklarlack, Sesamblätter, Shiso-Blätter100 x 60 cm

Haegue YangRainy Twosome Crumbs2016Wooden panel, wood varnish, weeds, dust, graph paperSpanplatte, Holzklarlack, Unkraut, Millimeterpapier60 x 100 cm

Haegue YangSprouting Hair2016Wooden panel, wood varnish, hair, rosemary leaf, shiso leaves, dustSpanplatte, Holzklarlack, Haar, Rosmarinblatt, Shiso-Blätter, Staub60 x 45 cm

Haegue YangShiso Summer-Harvest2011 Wooden panel, wood varnish, Shiso leavesSpanplatte, Holzklarlack, Shiso-Blätter125 x 90 cm

Haegue YangRain Gravity Mono I2011 Wooden panel, wood varnishSpanplatte, Holzklarlack125 x 90 cm

Haegue YangObenbild2000Wooden panel, wood varnish, graph paper, laser print, photocopiesSpanplatte, Holzklarlack, Millimeterpapier, Laserdruck, Fotokopien125 x 90 cm

Haegue YangMillimeter Paper Fan (from the series Temporary Belgrade Light)2007Transfusion stand, white cable, extension cable (black), white bulb holder, 5 transparent light bulbs (E27), 1 frosted light bulb (E 14), graph paper fans in violet, magenta, green, yellow, one lined paper fanInfusionsständer, weißes Kabel, Verlängerungskabel (schwarz), weiße Glühlampenfassung, 5 transparente Glühbirnen (E27), 1 matte Glühbirne (E 14), Millimeterpapier-Fächer in Violett, Magenta, Grün, Gelb, ein Linienpapier-Fächer183 x 60 x 60

DetailHaegue YangMillimeter Paper Fan2007

Haegue YangSonic Sphere – Diagonally-ornamented Copper2015Steel stand, metal grid, powder coating, casters, copper plated bells, metal ringsStahlständer, Metallgitter, Pulverbeschichtung, Rollen, kupferbeschichtete Glocken, Metallringe86 x 82 x 83 cm

Haegue YangSonic Sphere – Diagonally-ornamented Copper2015