From 22.6. to 15.9.2012 Galerie Meyer Kainer will be showing works of New York based artist Gedi Sibony.
His recent solo shows include exhibitions at Culturgest in Lisbon, Museum St. Louis, Kunsthalle St. Gallen and the FRAC Champagne-Ardenne. Furthermore he took part in the exhibition Unmonumental at the New Museum in New York.

Gedi Sibony is used to use a vocabulary of doors, curtains, carpet, remnants, pipes, plastic, cardboard and foamcore – contemporary consumer-grade rudiments. These raw materials operate as a phenomenological staging grounds which are highly tuned to their surrounding architectural spaces – individual elements recast as provocations and indicators of the theatrical presence of the interior spaces in which they exist. Preferring an intellectual physicality to a purely conceptual approach, Sibony treats each installation as an unfolding and physically involving meta-narrative.

The procession of objects through the natural process of use in daily procedure finds its highest rewards in those spatial freeing up moments that keep growing in the future.  This is also called the preparation of tools and resources.  Appropriate points in space will be left with these precisely crafted objects to later fulfill unconscious arm reaching.  The arm reach and the placement establish each other in unison.  This is in the surface of efficient energy expenditure, during which the scattery thoughts can emerge and recede without consequence.
This is starting as far back as possible.

Our own task is to go from the world of people and interactions to a frozen fictional world.

Through doors and hallways and spirals: this is a forgetting process…

These objects, slightly skewed but not off balance, generated the expanse: the teetering compact, flattened and filled-in world as the stage.

The energy comes from beyond the horizon and into humankind.

And there is the one to whom meanwhile is occurring around her.

The depiction of the localized revelation of the universe—it is the confirmation of the mystery of life.  This seeks the encapsulation of this.

In the epiphany, vistas reveal internally.

Artists choose to remain embedded in the act of depiction and very close to the thing and simultaneously embedded in the escape from it. To articulate it the artist stays localized to refine the method of articulation, synthesizing the escape fantasy.

This is called simulating the presence of in physical form.

(“Vienna Writing“ by Gedi Sibony)

Vom 22. 6. bis 15. 9. 2012 zeigt die Galerie Meyer Kainer erstmals Arbeiten des New Yorker Künstlers Gedi Sibony.
Zuletzt hatte er Einzelausstellungen bei Culturgest in Lissabon, im Museum St. Louis, der Kunsthalle St. Gallen und dem FRAC Champagne-Ardenne und war bei der Ausstellung Unmonumental im New Museum in New York vertreten.

Gedi Sibony verwendet üblicherweise für seine skulpturalen Setzungen ein Vokabular von „Türen, Vorhängen, Teppichresten, Rohren, Plastik, Karton und Schaumpappe“, alltäglichen, aus dem Konsumbereich stammenden Versatzstücken, die meist so einfach, karg und alltäglich sind, dass sie fast schon trivial wirken könnten, zumal die Übergänge zwischen Arbeitsmaterial und fertiger Arbeit bei Sibony nicht immer eindeutig definiert sind. In Anbetracht dessen, was bereits in der Kunst versucht worden ist, wird die Frage „Ist das etwa noch Kunst?“ für Gedi Sibony, gerade als in New York lebender Künstler, zum operationalen Moment seiner Ästhetik. Dabei erschließt er ausgehend von zufällig vorhandenen Objekten und Materialien die traditionellen Bereiche von Skulptur und Bild um dann wiederum im Gegenzug, in einer Serie von gefundenen Zeichnungen, die mit der Rückseite nach vorne gerahmt sind, aus dem Bereich des Bildraumes hinaus zu verweisen. Die von Sibony verwendeten Rohmaterialien fungieren dann als phänomenologisches Gerüst, das stark auf den sie umgebenden architektonischen Rahmen abgestimmt ist. Dabei bevorzugt er eine intellektuelle Körperlichkeit gegenüber einem rein konzeptuellen Zugang und behandelt jede seiner Installationen wie ein sich ausbreitendes, physisch involvierendes Meta-Narrativ.

The procession of objects through the natural process of use in daily procedure finds its highest rewards in those spatial freeing up moments that keep growing in the future. This is also called the preparation of tools and resources. Appropriate points in space will be left with these precisely crafted objects to later fulfill unconscious arm reaching. The arm reach and the placement establish each other in unison. This is in the surface of efficient energy expenditure, during which the scattery thoughts can emerge and recede without consequence.
This is starting as far back as possible.

Our own task is to go from the world of people and interactions to a frozen fictional world.

Through doors and hallways and spirals: this is a forgetting process.

These objects, slightly skewed but not off balance, generated the expanse: the teetering compact, flattened and filled-in world as the stage.

The energy comes from beyond the horizon and into humankind.

And there is the one to whom meanwhile is occurring around her.

The depiction of the localized revelation of the universe—it is the confirmation of the mystery of life. This seeks the encapsulation of this.

In the epiphany, vistas reveal internally.

Artists choose to remain embedded in the act of depiction and very close to the thing and simultaneously embedded in the escape from it. To articulate it the artist stays localized to refine the method of articulation, synthesizing the escape fantasy.

This is called simulating the presence of in physical form. 

(“Vienna Writing“ by Sibony)