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STEFANIE MAYER "IN A STATE OF FLUX"


  • M100, Odense Søndergade 26 Odense, 5000 Denmark (map)
 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Pressemeddelelse, juni 2018

Udstillingen ”In a State of Flux” omhandler spørgsmål om identitet i en verden, der for tiden er præget af dynamiske omvæltninger. Migration forandrer mennesker og samfund. Men hvilken betydning har kulturel identitet så, i en globaliseret verden, hvor alle mennesker længes efter tilhørsforhold, fællesskab og sikkerhed?

På den ene side ville det være nærliggende at tænke og forstå verden mere som en helhed. På den anden side er divergerende værdier og forhold i samfund, såvel som individuelle stater, den virkelighed vi står overfor, fx indenfor religion, nationalitet og sidst, men ikke mindst kapital.

På udstillingen vises skulpturer, objekter og tegninger, skabt i årene 2015 til 2018.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Tegningerne ”Ausgleich und Verteilung” omhandler afhængigheder og asymmetrier. – Velfærd for nogle afhænger af udnyttelse af andre. Skulpturen “Mädchen in Słubice” giver form til en navnløs tvangsprostitueret. Vægskulpturen ”Merzpferd Version 3” beskriver betydningen af drømme og visioner som begyndelsen på alle positive forandringer, som i sidste ende er det de fleste mennesker ønsker.

Vi er ”In a State of Flux”.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer arbejder med skulptur i simple materialer der minder om Arte Povera, papir, gibs, stof, træ, flamingo og jern. Hendes arbejder reflekterer over samtidens forhold til skønhed. De simple materialer i hendes skulptur- og papirarbejder skaber i sammenhæng med underfundige titler en form for klassisk æstetik der med humor og ironi viser en vej til at kritisere samtidens optagethed af det smukke. Stefanie Mayer bor og arbejder i Berlin og er uddannet på Hochschule für Angewandte Wissenschaften i Hamburg.

Fernisering: Fredag d. 1. juni, kl 17–19.
Udstillingsperiode: d. 2.–24. juni, 2018.
Åbningstider: Torsdag: 16–20. Lørdag–søndag: kl. 13–16.

Udstillingen er den sidste udstilling i M100 inden der holdes sommerferie i juli og det meste af august.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.


Tekst fra udstillingsfolderen:

Movements in Plaster
A Note on Stefanie Mayer’s Sculptures

Af Theis Vallø Madsen, PhD, Faaborg Museum and University of Southern Denmark.

Sculptors and painters have long been struggling with the depiction of motion. One of the most famous solutions was French-American artist Marcel Duchamp’s Nude Descending a Staircase from 1912. The seemingly fragmented figure appears to either dissolve or multiply on the way down the staircase. The painting brings together a series of different moments in a single image. In the preceding century, French sculptor Auguste Rodin would also use displacements and distortions as means of creating movement. Quoting Rodin, the French philosopher Maurice Merleau-Ponty described this “internal discordance” as a method for artists to create an illusion of movement in visual art.

Artists like Rodin, wrote Merleau-Ponty, would display for example the arms, the trunk, and the head in different moments in time thereby portraying the body in a pose it would never hold in real life. Merleau-Ponty uses a painting by French artist Théodore Géricault as an example.

In Géricault’s unrealistic painting of houses at Epsom Derby, horses are depicted with their four legs extended outwards. A photograph of a running horse appears to leaping in one place, writes Merleau-Ponty, while “(…) Géricault’s horses really run on canvas (…).” (Merleau-Ponty, “Eye and Mind” p. 145). They have a foot (or a hoof) in each instant. These impossible arrangements impose a fictive link, according to Merleau-Ponty, that would allow “(…) transition and duration to arise in bronze and on canvas.” (Ibid.). Perhaps plaster should be added to this list of matter in motion.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer’s sculptures are also – in a sense – impossible arrangements. They seem to linger in-between different states. They are graceful and rough at the same time. It is difficult to decide whether they are elegant or clumsy, heavy or light, or perhaps spinning outward or inward. They are simultaneously in motion and motionless. Each sculpture seems to be on the verge of something else. This immediacy allows audiences to image the sculpture as part of a prolonged moment extending backwards as well as forwards in time. They are caught in a momentary pose before either tipping over or continuing their centripetal and centrifugal movements outwards, inwards and upwards. To pose is usually associated with live performances, but the pose could also be understood as an artwork’s ability to capture a series of movements in matter. Stefanie Mayer’s poses portray motion as material matter.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

 Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Stefanie Mayer, In a State of Flux. Foto: Kirstine Mengel.

Earlier Event: June 2
SIGNE BOE "BIRD CALLS"
Later Event: June 2
J.F. WILLUMSEN