Mixed Exhibition “Love Will Finally Ruin Us”

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Mixed Exhibition “Love Will Finally Ruin Us”

Mixed Exhibition “Love Will Finally Ruin Us”

Love Will Finally Ruin Us

BSA @ Art Suites Gallery

Gabor A.Nagh (* 1972, painting, Berlin ‘ lives)
Adam Bota (* 1976, painting, lives in Vienna and Berlin)
Adam Magyar (* 1972, video and photography, lives in Berlin)
Anne Wölk (* 1982 , painting, lives in Berlin)

BSA’s (Berlin Selected Artists) exhibition, “Love Will Finally Ruin Us”, opens at Art Suites Galley on April 9th. The exhibition is a follow-up to the “Technology Will Not Save Us” group exhibition held at the Art Suites Gallery at a time corresponding to the 2011 Istanbul Biennial and Deenesh Ghyczy’s solo exhibition in 2012. For this new exhibition, curator Uwe Goldenstein brings together fresh and bright names of the Berlin art world in Istanbul. The paintings of Berlin-based artists focus on the changing relationships of personal life with all the aspirations, reality and limits of postmodern city life. Adam Magyar will be present at the exhibition with a powerful video from Berlin Alexanderplatz station. In the video, which uses the slow motion technique that has never been seen before, the audience will have the opportunity to examine the urban life more closely.

GÁBOR A. NAGY, 1972, Hajdúböszörmény (H), the artist lives and works in Berlin.

This coded world we live in no longer indicates being and existing. It does not tell stories and settlement does not mean movement. This is known as the crisis of standing values. We are still mostly programmed for texts such as history, science, political programs, and art. We read the world logically and mathematically, for example. But the new generation no longer shares our values, they are programmed by techno-images. And yet we don’t know what programming means for techno-images that surround us. Vilém Flusser, 1978

Breaking with history, as described by Flusser, was radically reflected by Gábor A. Nagy: all historical texts potentially programmed by us in the artist’s paintings are ultimately doomed to be meaningless. Combined with poetic pieces, these paintings reduce the world to a black monochrome surface, while the figures on it look like floating codes, becoming an abstract motif. His paintings often contain consequences that suggest an undated relationship to the world, symbolically charged to the sense of distance and spacelessness, the annulment and invalidation of both the background and the description. The narrative context and relationships seem to lose themselves in this darkened environment. Thus, Nagy’s paintings, the skyline and maybe even in the absence of space; It opens up a misplaced, revealed, and hyper-technological civilization. In this case, it is almost impossible to determine the out of focus position. Nagy enriches the challenge with relatively archaic technical means.

MAN BOTA, 1975, lives and works in Linz (A), Vienna.

Punk- Contrary to the noise of rock concerts – a recurring theme in Bota’s latest works – the scenes portrayed by the artist reflect a calm and reflective yet intense atmosphere in oil painting. Bota captures the cathartic experience of the harmonious trajectory of people dancing uncontrollably at very fast and hard strokes, as if ecstatic, with the flow of paint on the canvas and its cross-over and layers. In Bota’s depictions, the party party threatens to disappear in areas intertwined with paint, such as the grapes on the vine

, melts with his partners who agree with him, and lives a life of his own in the excitement of the moment. Piled up body parts seem to penetrate each other, disintegrate and regroup to form a large, inseparable, mobile body. Under the artificial, the often sparsely used light, reminiscent of neons in nightclubs, simplifies each other’s contours. Thus Bota emphasizes the enthusiastic concert experience.

The carefully placed colors of the artist reveal the complementarity of their own lives. They are connected to the forms themselves and direct the eyes of the audience to the artistic energetic transmissions that occur in this independent sphere. Punk moments become a frozen main motif towards the exploration of the break from the intensity of life. It is found throughout the layers of painting or in the dark intimacy of the club.

ADAM MAGYAR * 1972 Debrecen (H). Lives and works in Berlin.

Still, for the sake of convenience, picturing planet earth as a giant coffee table helps clean up the mess. Practically useless conditions and overwhelming details such as gravity, the international date changing line, and the equator arise from the global image.
Haruki Murakami, The Wily Wonderland and the End of the World

Adam Magyar’s work is for the city and its citizens. is a gift. In all his works, he develops a unique technique that reveals new dimensions of photography. With this dynamic, Magyar’s The utopian perspective depicts the ever-present but invisible layers of the city and the citizens as elementary particles in motion in a larger whole and integrates them with functional developments. Magyar’s Stainless series is at the center of his new activities. The flawless underground metro networks are caught in the slow motion process: Due to Magyar’s elaborate and skillful photographic technique, the entrance of the train to the station looks like lives covered with depth and relaxation. Like classical portraits, the pure functionalism of the subway looks majestic to us, and the audience seems to convey the timeless and still peace of passengers and portraits. In fact, all passengers seem to prepare themselves for arrival at the station. Magyar’s Urban Flow series works in reverse visual logic. Because the acceleration process here has been transformed into a visual stagnation process of reason. In fact, this situation represents the impossible time-space constellation, the city dwellers, who are the city itself, in all these dynamics. This path adds to the urban timeline and stops us in an abstract quality. Thus, the photographic moment brings not only replicated and sequentially stopped, but also life in a standstill. Thus, gliding through the squares to see the dizziness of the city, standing in the corners where everyone rushing or diving into underground tunnels, being surprised by the calmness and the aestheticization of the beauty of life by Adam Magyar makes the work interesting.

ANNE WÖLK * 1982 Jena (D). Lives and works in Berlin.

In Anne Wölk’s paintings, nature has apparently been transformed into synergistic landscapes. But the thoughtful atmosphere and rich impression of nature can still be found. The laws and relationships in Wölk’s work manifest as inclusiveness and absolute idea in his pictorial universe. So much so that the plain definition of the landscape transcends the representation of a larger life, the emergence of an allegorical community such as birch trees, ornamental signs, and geometric effects. The mysterious stories bring to mind the almost mystical layer of abstraction that seeps out of nature, from the presence or deliberate absence of seemingly relaxed figures. With this feeling, Anne Wölk’s pictorial fantasies can be understood as an autonomous and independent world free from the general laws of representation. The synergistic result of confronting nature on an unnatural level, its formalistic expression does not depend on any concept of enlightenment. In fact, they are trying to reach the very opposite. While remembering and healing nature is reset by the suffocating layers of post-modern interpretations, digital alienation has come on top of it. This offers a new incentive for independent perspectives and associations. Wölk posed the question, however, to what extent can we access an authentic experience of nature. In this sense, the stories in the artist’s work suggest the possible autonomous state of nature as well as its fullness of technology. (Texts: Uwe Goldenstein)

Exhibited Works