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Manfred Pernice 


Kassetten

Manfred Pernice, born in 1963 in Hildesheim, Germany, lives and works in Berlin. His oeuvre literally “contains” sculptures in a wide range of dimensions, ranging from walk-in structures to miniature models. They appear as complex structural volumes or simplified cylinder forms – known as “cans”. Either distributed in outdoor space as info-terminals or pavilions, thereby reacting to the nearby environment and commenting on equally chance urban elements such as rubbish bins or advertising columns – or attributed to a person or a condition. The individual elements of the cans are variable, as if their current composition was only temporary, and the material confirms these provisional, temporary characteristics. Everyday materials are made into triggers of thought that can open up narratives in the spaces they occupy.

In the condensation and organization of the used materials, possible hidden links arise between a method (or non-method) of the artist. The objects exhibited apparently negate any systemic approach within Pernice’s working process and manifest a skeptical undertone within his oeuvre. What’s actually on display is an undecided anti-display; optional systems which could be arranged in this way or that. Or, in the end, perhaps even the act of displaying itself – as an equivalent possibility.

Recent solo exhibitions of Pernice’s work have been organized by SMAK, Ghent; Neuer Berliner Kunstverein, Berlin (both 2011); Secession, Vienna; Modern Art Oxford, Oxford; Salzburger Kunstverein, (all 2010); Neues Museum in Nuremberg; Schinkel Pavillon, Berlin (both 2008); and Museum Ludwig, Cologne (2007); His work has also been included in major exhibitions such as 29° Bienal de São Paulo (2010); Seville Biennale (2006); Venice Biennale (2001 and 2003); and Documenta 11 (2001).

Photo credit: Sven Laurent


Evaluation, 2013

243 x 243 x 37 cm
diverse wood, paint, found objects


Evaluation, 2013

243 x 243 x 37 cm
diverse wood, paint, found objects


Independence, 2013

200 x 200 x 40 cm
diverse wood, paint, found objects


Independence, 2013

200 x 200 x 40 cm
diverse wood, paint, found objects

detail


Interdependance I, 2013

223 x 203 x 35 cm
diverse wood, paint, found objects


Interdependance I, 2013

223 x 203 x 35 cm
diverse wood, paint, found objects

detail


Untitled (cassette 1), 2013

44 x 44 x 5 cm
diverse wood, paint, glass, magnets, original
collage, photocopies on paper


Untitled (cassette 2), 2013

44 x 44 x 3 cm
diverse wood, paint, glass, magnets, original
collage, photocopies on paper


Untitled (cassette 3), 2013

44 x 44 x 5 cm
diverse wood, paint, glass, magnets, original
collage, photocopies on paper


Untitled (m), 2013

89 x 82 x 167
diverse wood, paint, photocopied texts


Untitled (m), 2013

89 x 82 x 167
diverse wood, paint, photocopied texts


Untitled (m), 2013

89 x 82 x 167
diverse wood, paint, photocopied texts

detail


Untitled (m), 2013

89 x 82 x 167
diverse wood, paint, photocopied texts

detail


Untitled (m), 2013

89 x 82 x 167
diverse wood, paint, photocopied texts

detail


Interdependance II, 2013

172 x 172 42,50 cm
diverse wood, paint, found objects


Interdependance II, 2013

172 x 172 42,50 cm
diverse wood, paint, found objects


Interdependance II, 2013

172 x 172 42,50 cm
diverse wood, paint, found objects

detail

Manfred Pernice 


Kassetten

Manfred Pernice, born in 1963 in Hildesheim, Germany, lives and works in Berlin. His oeuvre literally “contains” sculptures in a wide range of dimensions, ranging from walk-in structures to miniature models. They appear as complex structural volumes or simplified cylinder forms – known as “cans”. Either distributed in outdoor space as info-terminals or pavilions, thereby reacting to the nearby environment and commenting on equally chance urban elements such as rubbish bins or advertising columns – or attributed to a person or a condition. The individual elements of the cans are variable, as if their current composition was only temporary, and the material confirms these provisional, temporary characteristics. Everyday materials are made into triggers of thought that can open up narratives in the spaces they occupy.

In the condensation and organization of the used materials, possible hidden links arise between a method (or non-method) of the artist. The objects exhibited apparently negate any systemic approach within Pernice’s working process and manifest a skeptical undertone within his oeuvre. What’s actually on display is an undecided anti-display; optional systems which could be arranged in this way or that. Or, in the end, perhaps even the act of displaying itself – as an equivalent possibility.

Recent solo exhibitions of Pernice’s work have been organized by SMAK, Ghent; Neuer Berliner Kunstverein, Berlin (both 2011); Secession, Vienna; Modern Art Oxford, Oxford; Salzburger Kunstverein, (all 2010); Neues Museum in Nuremberg; Schinkel Pavillon, Berlin (both 2008); and Museum Ludwig, Cologne (2007); His work has also been included in major exhibitions such as 29° Bienal de São Paulo (2010); Seville Biennale (2006); Venice Biennale (2001 and 2003); and Documenta 11 (2001).

Photo credit: Sven Laurent