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Carla Luisa Reuter- The ∏ Generation

5 novembre 2022 → 4 février 2023

À propos

Les peintures de Carla existent dans un monde d'images. Le photographe appuie sur gachette et la peinture jaillit à travers la plaie. Des femmes, des mannequins, des actrices et des stagiaires sont emportées par le flot, à la fois dominées et libérées par la re-présentation de Carla-Luisa Reuter. La structure et l'esprit sont réinscrits dans le tournage, les assistants photographes s'éparpillant en serpentant sur le plateau. Ce qui était autrefois vertical, le panneau d'affichage et la page de magazine, s'étend à l'horizontale. Un monde trompeur d'agents et de contrats ; un style pur et lucide éclate, séduisant une foule blasée d'hommes et de femmes d'affaires. Le monde de la consommation et du capital que Carla représente ouvre la voie à un jeu de réflexion sur la question de savoir qui ou quoi a réellement pris la direction des opérations.
Carla Luisa Reuter
Café des Glaces
5 novembre 2022 →
4 février 2023
Texte d'exposition
Calum Lockey

Carla Luisa Reuter

Carla-Luisa Reuter est née et a grandi en Allemagne. Elle a étudié le costume et la scénographie à la Weißensee Kunsthochschule de Berlin, à un moment où celle-ci conservait encore des structures pédagogiques héritées de la période du réalisme socialiste de la RDA. Elle a poursuivi ses étude théatrales à Francfort et a ensuite fréquenté la classe de peinture de Jutta Koether à l'Académie de Hambourg. Elle a exposé en Allemagne et en Europe. En 2021, elle a eu une exposition personnelle à Sangt Hipolyt, à Berlin et, en 2022, une exposition en duo avec Hana Earles à Meow2, à Melbourne.

Texte d'exposition

Die 3,14159te Generation, who grew up with numbers in the air. When Soutine painted hisfriends, he dressed them up as workers, he couldn't help himself and they looked lesshuman than the steaks and the fish. When Lucian Freud painted self-portraits, he wouldstart from the eyes and work outward, migraines start in the eyes, often the left, and spiralthrough the cortex. The foreshortening in Carla’s paintings, produce a figuration of ‘real’painting, an image un-mediated by photographic assistance. In this way they escape theirreferent, and her painterly ability is set loose, un-paroled, viral and infecting the bodies,their bedrooms, the space, their insubordination. That is to say, these paintings, likehistory itself, are a crime, evidence that litigates against the present.

Five girls in a space, self-portraits, painted from reflections in a series of cheap mirrors,each broken in some circumstance to then be replaced by another, found in the street,bought second hand online or borrowed from friends. Damaged, illusions, these figuresare organised on fields of blue, halo’s that were frottaged against the fences near variousstudios. Some protected the abandoned buildings of Alt-Hohenschönhausen, a Berlinsuburb known for being the current residence of former Wall guards. The others near astudio sublet in Mitte, surrounded by upscale cafes, whose staff were being fired inearshot of the painting, un-necessary, surplus, you slept too long, you didn't wake up intime.

The portraits are all detectives. Modernism started with the detective story, whenBaudelaire translated Poe’s The Mystery of Marie Roger, The Murders in the Rue Morgue,and The Purloined Letter. He also used to take sandpaper to his clothes, it's obvious tosay he was the first of us, but it doesn't make it wrong. And clothes are important here, nowmore than ever. The increasing specialisation of ‘sub-cultural’ categories allows for ahighly liquid market and abundant marketing opportunities, a Dark Academicism.

The linen that Carla chose has a weave that stands prominently against the brush, primedwith glue, a thin translucent, clogged up layer stuck over the earthy brown material. Shecalls the small paintings “Fever Curves” and they look like citiescapes on fire, or the heartrate activity of someone close to death. They are 80’s paintings, yuppie paintings,paintings from a time when success was still a choice, they fit in a briefcase. UnlikeRothko, whose screen-like fields absorb you in throes of non-specific emotion, the bluepassages here demarcate, either trapping the figures in prisons or they protect,boundaries against the insatiable predators who would strip them down and liquidate theircompanies for scraps.

It's Autumn in Germany, the hottest on record, the imprisonment is behind us, things arelooking worse. In February, Jutta Koether told Carla that ‘images are like heroin, you can'tjust do a little’. An exhibition is like rehab and one day we will get clean.

- Calum Lockey
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