Andreas Grimm and Adrian Rosenfeld are pleased to announce the opening of the next exhibition at their Munich gallery, Katarina Burin: The Façades. Katarina Burin presents drawings, sculptures, collages and xerox works that continue her investigation of the afterlife of historical movements in architecture and their contemporary perception through incomplete (and often auratic) documentation and surviving photographs.
Behind this exhibition lies Burin’s interest in run-of-the-mill, mid-century modernism in Eastern Europe, particularly in public buildings like hotels and cafes. Perhaps unremarkable as architecture, many of these buildings are recorded in photographs for civic or touristic use, which inadvertently emphasize their dramatic sculptural qualities, or else flatten their dimensionality, turning them into graphic facades. Burin’s observations of these frissons provide the organization and the title of the exhibition, which presents four bodies of work and a small room installation, loosely grouped around the twin ideas of restoration and tourism, the renovating of lost structures and a kind of travel conducted only through images.
The Chalet series, a group of six large drawings, draws on Burin’s family collection of postcards of lodges and hotels in the mountains of Slovakia, recasting each building as a sort of advertising poster, with borrowed or invented text. Each building represents a generic type, and the whole set is like a catalog of styles. Unlike real posters, Burin’s slogans are open-ended, and the images are not graphically printed, but rather drawn with trembling and delicate? but also stylized? lines of watercolor pencil. From these hotels, Burin proceeds to collect imagery of “leisure time,” which she transforms into three-dimensional collages--sculptures in which the photos are framed, interrupted, juxtaposed and obscured. This strategy of fragmentation and framing also characterizes the nine watercolors of Remodeled, which freely interpret the kind of drawings architect/artist Theo Van Doesburg made to represent his designs for DeStijl floor-tiling patterns. The colored squares coalesce to make letter forms, and imbedded in each abstraction are the titles: “Revamped,” “Refurbished” etc. These works both literally describe a relation to Van Doesburg’s oeuvre, and refer to how images are used throughout the exhibition. A series of black and white photocopies stems from photographs of a small model made by the artist. Again drawing on Van Doesburg’s use of pure abstraction in functional design (the inspiration for the original model), the work considers how historical photographs of architectural models (and, by extension, real buildings), with their dramatic lighting and degraded quality, appear both monumental and shabby, immediate and immensely distanced.
In the Grimm|Rosenfeld basement gallery, Burin will show a companion piece to “The Room of the Abstracts,” her recent project for the Grimm|Rosenfeld New York gallery. Based on the “Bloemenkamer” Van Doesburg designed for a Mallet-Stevens villa, Burin turns the elements of the design into shaped objects on the wall, collaged with the tones of empty spaces from xerox copies.
Katarina Burin lives and works in Berlin. She was born in Bratislava, Slovakia in 1975. She graduated from the Yale School of art in 2002. Her work has been shown in New York, Berlin, Munich, Bregenz (Austria), and Vienna. She is a past recipient of the A-9 Forum Transeuropa residency, as well as a Daedalus Foundation grant.
THE FACADES will be on view until December 20. For photographs or further information please contact Philipp Selzer at r write .
GRIMM|ROSENFELD, Theresienstrasse 56/Rgb, 80333 Muenchen. The gallery is open Tuesdays through Fridays 12.00-7.00 and Saturdays 11.00-2.00.