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Ariel Hassan: Trace and Determinates    21. Dez , 2013 - 20. Jan 2014

Darstellung :    Aktuelle Ausstellungen   Vergangene Ausstellungen      
Trace and Determinates
Solo Exhibition of Ariel Hassan

Opening: Dec. 21 2013, Sat. 3-6pm
Date: Dec. 21 2013 - Jan. 20 2014

Exhibiting for the second time at AURA Gallery, Ariel Hassan once again offers a rich mix of painting, drawing and 3D works. Living and working in Berlin, and with second studio Australia, Hassan’s new works are once more sourced via intransigent accidents off paint-translated by hand over long periods of time with precision and patience. In Hassan’s work there is structure, not the artist’s, but a more general and universal one.
Intrigues of long duration is the title given to the majority of works in the exhibition; sequentially numbered for identification, they demonstrate that Hassan’s works are nothing more than particles of the much larger absolute, within an even larger and singular action of art. One large painting aside, the rest of the works are small in scale and invite an intimate viewing; the closer we get the more detail is revealed.
The complex depictions of fluids appear this time as negative spaces over the otherwise white, untouched canvas. Referring to a recent series of sculptures (Models) we could read these interconnections happening on the surface of the canvas either as information transmitters, or perhaps as flagellated canvases.
Exuding colorful magma-like images from its lacerations it seems to activate and move through the channels, which ensue, while we remain safely on the other side of the ascetic Perspex boxes that contain them. Included in the exhibition is a resin sculpture that twists and turns in space, while holding to itself through tension; Model of a subject’s authoritarian impulses might be interpreted as a rendering of brain synapses triggering instinctual mechanisms or reactions, but event this reading is speculative. Occupying a whole rooms is an installation that interconnects the space from corner to corner; structurally it seems that this lightweight construction could have been the pre-cursor to the sculpture.
Capitulation of discourse is a rather simple work that shows us unintended patterns, like cellular structures produces by strips of aluminum paper connected temporarily, we know that the life of the work will be short that soon things will change. We could try to articulate or interpret Hassan’s work, but as in the title of the installation, perhaps it is best to capitulate our judgments to the experience of the traces presented and the possible but indeterminate effects.

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