{"id":286,"date":"2020-12-13T20:25:51","date_gmt":"2020-12-13T20:25:51","guid":{"rendered":"https:\/\/danagreiner.com\/?post_type=exhibitions&#038;p=286"},"modified":"2020-12-16T21:31:26","modified_gmt":"2020-12-16T21:31:26","slug":"the-absurd-beauty-of-space-7-artists-vs-ungers","status":"publish","type":"exhibitions","link":"https:\/\/danagreiner.com\/de\/exhibitions\/the-absurd-beauty-of-space-7-artists-vs-ungers\/","title":{"rendered":"THE ABSURD BEAUTY OF SPACE. 7 ARTISTS VS. UNGERS, Hamburger Kunsthalle, Galerie der Gegenwart"},"content":{"rendered":"\n<figure class=\"wp-container-2 wp-block-gallery-1 wp-block-gallery columns-3 is-cropped\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" width=\"1024\" height=\"657\" src=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2311-1024x657.jpg\" alt=\"\" data-id=\"288\" data-link=\"https:\/\/danagreiner.com\/?attachment_id=288\" class=\"wp-image-288\" srcset=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2311-1024x657.jpg 1024w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2311-300x192.jpg 300w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2311-768x493.jpg 768w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2311-1536x985.jpg 1536w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2311-2048x1314.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"blocks-gallery-item__caption\">Akt iv<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" width=\"1024\" height=\"663\" src=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2324-1024x663.jpg\" alt=\"\" data-id=\"289\" data-link=\"https:\/\/danagreiner.com\/?attachment_id=289\" class=\"wp-image-289\" srcset=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2324-1024x663.jpg 1024w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2324-300x194.jpg 300w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2324-768x497.jpg 768w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2324-1536x995.jpg 1536w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2324-2048x1326.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"blocks-gallery-item__caption\">Akt vi<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" width=\"1024\" height=\"683\" src=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2400-1024x683.jpg\" alt=\"\" data-id=\"290\" data-link=\"https:\/\/danagreiner.com\/?attachment_id=290\" class=\"wp-image-290\" srcset=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2400-1024x683.jpg 1024w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2400-300x200.jpg 300w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2400-768x512.jpg 768w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2400-1536x1025.jpg 1536w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2400-2048x1366.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"blocks-gallery-item__caption\">Akt vi<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" width=\"1024\" height=\"649\" src=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2417-1024x649.jpg\" alt=\"\" data-id=\"291\" data-link=\"https:\/\/danagreiner.com\/?attachment_id=291\" class=\"wp-image-291\" srcset=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2417-1024x649.jpg 1024w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2417-300x190.jpg 300w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2417-768x487.jpg 768w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2417-1536x974.jpg 1536w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2417-2048x1298.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"blocks-gallery-item__caption\">Akt ii<\/figcaption><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><img loading=\"lazy\" width=\"1024\" height=\"621\" src=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2319-1024x621.jpg\" alt=\"\" data-id=\"292\" data-link=\"https:\/\/danagreiner.com\/?attachment_id=292\" class=\"wp-image-292\" srcset=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2319-1024x621.jpg 1024w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2319-300x182.jpg 300w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2319-768x466.jpg 768w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2319-1536x932.jpg 1536w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2319-2048x1242.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"blocks-gallery-item__caption\">Akt i<\/figcaption><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\">&#8222;L\u00fcde in vii Ekcten&#8220; by Dana Greiner, Exhibition view (act 2\/act4\/act6\/act6\/act2\/act1)<\/figcaption><\/figure>\n\n\n\n<p>&#8222;Abstract forms, glowing colours and dynamically flowing video projections dominate the space. Dana Greiner (b. 1988 in Munich, lives in Munich) challenges us with static objects that yet seem to undergo metamorphoses, sounds that materialise along the walls, and fluctuating light that steers our perception. Two plump pompoms invite us to try to reconstruct Greiner\u2019s perfor- mance setting in seven acts. Viewing the installation as a whole, we quickly lose track of what is going on. We are called upon to engage with the constant- ly expanding dimensions, to seek out alternate points of view and perspectives, and thus to react in some way to the changing arrangements. The surrounding exhibition architecture becomes a stage, with the viewers as actors.&#8220; (source: <a href=\"https:\/\/www.hamburger-kunsthalle.de\/sites\/default\/files\/begleitheft.pdf\">https:\/\/www.hamburger-kunsthalle.de\/sites\/default\/files\/begleitheft.pdf<\/a>)<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"683\" src=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2314-1024x683.jpg\" alt=\"\" class=\"wp-image-294\" srcset=\"https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2314-1024x683.jpg 1024w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2314-300x200.jpg 300w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2314-768x512.jpg 768w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2314-1536x1025.jpg 1536w, https:\/\/danagreiner.com\/wp-content\/uploads\/2020\/12\/DSC2314-2048x1366.jpg 2048w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption>L\u00fcde in vii Ekcten, exhibition view (act 7)<\/figcaption><\/figure>\n\n\n\n<h4><strong><span class=\"has-inline-color has-vivid-purple-color\">Looking through the fringe<\/span><\/strong> <\/h4>\n\n\n\n<p><em>Text by Miriam Stoney<\/em>:<\/p>\n\n\n\n<p>At first there is a hard edge and it indicates an abrupt end, an absolute limit. As if in defiance, innumerable fibres, hairs or threads sprout off the threshold into the fray of possibility. Brushes, bangs, tentacles, fronds, fringes. Some are short, bristled and stiff; some are endlessly flowing and seductive. The edge can be forgotten, for the time being. The decoration of a boundary calls its efficacy into question, and rather draws attention to it as a point of passage. In Dana Greiner\u2019s exhibitions, fringes can be viewed spatially, formally or iconographically, leading viewers through different possibilities of perception and interpretation. The arrival at one conclusion is always undermined by the desire to pass through the next portal, to where everything might be quite different again (Akt 2).<\/p>\n\n\n\n<p>Dana Greiner stages interactions between mediums as though one were observing the other through a glitter string curtain, tempted to join the party on the other side. The aptitude with which she handles pigment, picture plane, material, light, colour and music demonstrates the kind of socio-technical cognition required to negotiate across their divergent properties, to pass from one to another. However, it would be a mistake to suggest that she begins at painting and makes her way from there. Rather, the introduction of moving images cast on the exhibition walls, for example, inserts a new temporality into the picture plane, which unbinds pigments to allow it to diffuse freely into the viewer\u2019s space of perception. Each medium undergoes a soft transition in its encounter with another, which can be reversed by the cue that signals the beginning of the next act.<\/p>\n\n\n\n<p>The dynamism of this approach is embedded in Greiner\u2019s paintings themselves. It can be difficult to characterise her work in conventional art historical terms of \u2018abstraction\u2019, \u2018figuration\u2019 or \u2018Op Art\u2019, since they can be all of these things at once, or none of them at all. Perhaps it depends upon the role that painting is given in the context it is being viewed, which in Greiner\u2019s case will usually have a theatrical foil: painting as protagonist, actor, narrator, director\u2026 or stage directions? Take the sweeping brush, brandished like a weapon across the feminised body of a composition of triangles in <em>fetischistisches mamifest. <\/em>The broom handle points directly to the spot of pleasure on the black, yonic form, but it also wields its own whip and moreover, it is not placed in, but on the picture plane: it\u2019s a real sweeping brush, and it\u2019s good for something. This is no manifesto, but a mamifesto, of the mother \u2013 the most multivalent of beings \u2013 who cleans or fucks, depending on how you get to know her.<\/p>\n\n\n\n<p>The luxury of such uncertainties is rarely freely granted. Dana Greiner shows us what can happen when hard lines are blurred in motion. In doing so, her exhibitions stage the transformations that question the view of art as a fixed, capital asset. The painting that brazenly offers itself up as advertising space subverts the finality of the artistic gesture to underscore the capriciousness of markets in which we are all invested \u2013 as consumers, producers and products. Should we be ashamed of ourselves, for what we reproduce every time we look and consume? I\u2019d rather take to the fringes, where there is the promise of choice and concealment in making it; the possibility of seeing a different image in the same painting; of being for and against, at the very same time.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Hamburger Kunsthalle, Galerie der Gegenwart, Hamburg<br \/>\n04.09.2020 \u2013 07.03.2021<br \/>\nL\u00fcde in VII Ekcten, Room installation by Dana Greiner<br \/>\n&#8222;Abstract forms, glowing colours and dynamically flowing video projections dominate the space. Dana Greiner (b. 1988 in Munich, lives in Munich) challenges us with static objects that yet seem to undergo metamorphoses, sounds that materialise [&#8230;]<\/p>\n","protected":false},"featured_media":287,"template":"","_links":{"self":[{"href":"https:\/\/danagreiner.com\/de\/wp-json\/wp\/v2\/exhibitions\/286"}],"collection":[{"href":"https:\/\/danagreiner.com\/de\/wp-json\/wp\/v2\/exhibitions"}],"about":[{"href":"https:\/\/danagreiner.com\/de\/wp-json\/wp\/v2\/types\/exhibitions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/danagreiner.com\/de\/wp-json\/wp\/v2\/media\/287"}],"wp:attachment":[{"href":"https:\/\/danagreiner.com\/de\/wp-json\/wp\/v2\/media?parent=286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}