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‘Über Freude und Enttäuschungen - Joy and Disappointment’, with Angela Stauber, Kunstverein Ottobrunn, Munich




Canadian born Micha Eden Erdész (b 1975) and Munich inhabitant Angela Stauber (b 1977) are an artistic doubling sharing simultaneous aloof and civically-minded attitudes. Both internationally exhibiting artists are transformers of a kind. Re-inventing neo-liberal landscapes with sometimes serene and sometimes severe gestures, both artists offer incorporeal spiritual counterpoints made visible. The show’s namesake: ‘Joy and Disappointment’, is a cyclic manifesto for painting as a vestige of interwoven Eternalism - the view that all existence in time is equally real - and in endless return. An Ouroboros of mirage, mise-en-scène and virtual diorama, each artist brings their own slant to the nature of stepping inside or remaining outside the 2-dimensional plane.

Reticently utopian in the case of Stauber, the works engage the viewer in abstract metaphysical terms, using colour both as a cloaked interruption and portal for imagined transformations of contexts at hand or otherwise. For ‘Joy and Disappointment’, Stauber reveals transitory arcades in oil and watercolours, an including ‘Lightroom’ (2021) and ‘View to the World’ (2021) and centrepiece of oil on a tarpaulin, most likely seen tying down merchandise on road hauliers. These purposeful rites of passage are the elephant in the room under wraps, the fact this collaboration is jarred by two conflicting movements: iconoclasm (Brexit) vs contagion (Covid-19).


Or ambivalently liminal as in the work of Erdész, whose clandestine Intermedial strategy yields Magical Realism in the site-associative offering: ‘The Happy Games’ (2021). For Erdész, the tragic association of Canadian water polo players with the infiltration of non-athletes to the Olympic village during the 1972 Munich games, reconstitutes naivety as an assuaging piece of quasi-restitutive memorabilia. Erdész identifies the majestic egalitarianism of a stadium built in altruism, with the perceived neutrality of Canadian athletes on the world political stage, some who left the games feeling complicit in the turn of horror that ensued.




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‘Inland flood’, High Chelmer Shopping Centre, UK, 2021 tbc