Manfred PerniceTuttiwith Works by Petra Trenkel, Lukas Volker, W&D Dehnbund, Karin EM. Seidler, Roland E. Kollcek, Billy v. Grammel, Andrea Gölzen, Babtiste Odi Kagá, Schafter&Störpler, ...
4 Feb – 11 Apr 2010
Manfred Pernice is considered one of the most important sculptors in the German-speaking world. For his first solo exhibition in an Austrian art institution, he developed a new expansive installation in the Great Hall of the Salzburger Künstlerhaus.
Manfred Pernice creates his sculptural works from the simplest, often used materials, such as cardboard or chipboard. The artist designs autonomous sculptural objects that question the relationship between interior and exterior spaces as installations. The works bear the traces of their production and use, can be colored or covered with photos and sketches.
In Pernice's works, the principle of chance and dadaistic wit are just as present as object inventions that include relics of everyday life. In his distrust of prefabricated modular systems, the artist works against the straightness that prevails today and develops anti-forms whose identity and function vary. The viewer is asked to constantly reposition himself in relation to his aesthetic modules.
Important motifs of the exhibition in Salzburg were “participation” and “expansion”.
Manfred Pernice showed four presentations on an exhibition roundel, which for example dealt with the history of the “Hotel Europa” in Salzburg and the hotel “Europäischer Hof” in Munich or the surroundings of a dismantled fountain in Potsdam in the former GDR. In the same segment of the exhibition rondel, pictures by the Berlin artist Petra Trenkel, who dealt with anonymous urban and suburban landscapes in her works, were on display.
Participation was addressed through the integration of the works of Manfred Pernice's former students at the Academy of Fine Arts in Vienna — sculptural works by Klaus Gölz and Benedict Traunfellner were on display. In the “Tutti” exhibition, Manfred Pernice posed the question of the conditions and possibilities of exhibiting as such. The gesture of showing — the compilation of different works by the artist and his colleagues, each with their own stories and meanings, created a complex field of references and cross-references and made “Tutti“ an orchestral interplay of different voices.