Daniel Knorr: Alpenpfützen
Galerie Rüdiger Schöttle
Munich | GermanyFor the first time, Galerie Rüdiger Schöttle is showing the artist Daniel Knorr in a solo exhibition. The œuvre of the Biennale and Documenta participant is characterized by its versatility in terms of content and media. His sculptures, photographs, performances, site-specific installations, and projects in public space take a look at social and socio-political issues, reflect on them, reveal them and put them up for discussion in an art context.
The exhibition “Alpenpfützen (Alpine puddles)” follows a musical and topographical trail through the Alps. Newly created works from the series “Depression Elevations” abstract topographic forms of mountain landscapes (Glacier, 2022) and riverbeds (Stream Bed, 2022), visualize and materialize the traces of the wind (Wind, 2022) and transpose them into wall objects of expressive color. In addition, new works from the “Canvas Sculptures” series reference mountain motifs of art historical predecessors such as Matisse and Kirchner (Dance, 2022, Alpine Matisse I and II, 2022), allude to the creative power of nature and man (Crushed Hands, 2022), or integrate musical notations into a dilating notion of music as an integral part of our natural experiential cosmos (Artificial Symphony, 2022). The canvas sculpture “Artificial Symphony, 2022” – a 10th symphony by Beethoven completed posthumously by artificial intelligence – furthermore introduces a technological as well as actuality-related dimension into the discourse.
This aspect is taken up on the ground floor of the gallery, where it is literally dismantled and carried further. In a continuation of his work “Laundry”, which Daniel Knorr first presented as a performative act at Art Basel Unlimited in 2019, his latest iteration, “Laundry: Isetta 2022”, was created. More than 80 individual canvases are assembled into the stylized car body contours of the iconic 1950s microcar, one of the smallest cars in the world, and are painted using a car wash converted into a painting machine. As a large-scale instrument, it replaces the paintbrush: the initially white, clean canvases are wildly covered with splashes and streams of paint by the frantically rotating brushes. In their creational process, they reveal parallels to action paintings or modern happenings. While the work “Laundry”, conceived as a large-scale installation, was particularly captivating for its performative character, the more recent works in the series focus more decidedly on the objectness of the cars, even though the processual remains visible and inscribes itself as the sensual materialization of an artistic practice.
For the first time, Galerie Rüdiger Schöttle is showing the artist Daniel Knorr in a solo exhibition. The œuvre of the Biennale and Documenta participant is characterized by its versatility in terms of content and media. His sculptures, photographs, performances, site-specific installations, and projects in public space take a look at social and socio-political issues, reflect on them, reveal them and put them up for discussion in an art context.
The exhibition “Alpenpfützen (Alpine puddles)” follows a musical and topographical trail through the Alps. Newly created works from the series “Depression Elevations” abstract topographic forms of mountain landscapes (Glacier, 2022) and riverbeds (Stream Bed, 2022), visualize and materialize the traces of the wind (Wind, 2022) and transpose them into wall objects of expressive color. In addition, new works from the “Canvas Sculptures” series reference mountain motifs of art historical predecessors such as Matisse and Kirchner (Dance, 2022, Alpine Matisse I and II, 2022), allude to the creative power of nature and man (Crushed Hands, 2022), or integrate musical notations into a dilating notion of music as an integral part of our natural experiential cosmos (Artificial Symphony, 2022). The canvas sculpture “Artificial Symphony, 2022” – a 10th symphony by Beethoven completed posthumously by artificial intelligence – furthermore introduces a technological as well as actuality-related dimension into the discourse.
This aspect is taken up on the ground floor of the gallery, where it is literally dismantled and carried further. In a continuation of his work “Laundry”, which Daniel Knorr first presented as a performative act at Art Basel Unlimited in 2019, his latest iteration, “Laundry: Isetta 2022”, was created. More than 80 individual canvases are assembled into the stylized car body contours of the iconic 1950s microcar, one of the smallest cars in the world, and are painted using a car wash converted into a painting machine. As a large-scale instrument, it replaces the paintbrush: the initially white, clean canvases are wildly covered with splashes and streams of paint by the frantically rotating brushes. In their creational process, they reveal parallels to action paintings or modern happenings. While the work “Laundry”, conceived as a large-scale installation, was particularly captivating for its performative character, the more recent works in the series focus more decidedly on the objectness of the cars, even though the processual remains visible and inscribes itself as the sensual materialization of an artistic practice.
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