Ivan Seal

some of these one of those and that

Å+
Ivan Seal some of these one of those and that
like a child at a counter in a sweet shop methodically placing the order as
the shopkeeper fills a paper bag full of tooth decaying delights Ivan Seal
title for his show at Å+ asks us to define, select and devour. Similar to the
jars full of sweets on the shelves in the candy shop the first job is to
identify what is in them from a distance. Each of Ivans paintings hold clues
to recognisable structures be they shadows, texture, weight, scale or even
realistically painted objects from our common knowledge. However they
soon dissolve into uncertainty when one realises these clues are riddled
with impossibilities and error which point to a different rule system. This
system could also be elsewhere, viewed through the paintings which act
like portals or trapdoors to another reality, a painted other room or
parallel landscape. So where do we stand in this landscape? maybe the
answer is back in the title of the exhibition. There is a selection at play,
a selection with numerous different narratives and interpretations. By
creating a group which is divided and punctuated by gaps one becomes
the selector of pairings and singling out of paintings creating an open
system to meaning in the exhibitions terrain.
Yet this is all presented with a dead-pan delivery and a touch of sarcasm
of whether we have chosen the right combination of sweets. Or will we be
holding one odd candy up whilst suspiciously asking “ what is that?”
Florian Schmidt - pan shot

„Wenn die Postmoderne der achtziger Jahren recht hatte, dass jede neue Kunst auch an alte Kunst erinnert, so
stellt sich im Umkehrschluss die These auf, dass vergangene Kunst nur als solche wahrnehmbar ist, wenn sie
durch neue Kunst erscheint.“

Florian Schmidt schafft Bilder aus Holz, Pappe, Leinwand, Farbe, die eigentlich Objekte sind. Manche sind
grob/rau/spröde mit Klammern zusammengesetzt, andere strahlen in klassischer Eleganz. Ähnliches gilt für
die Raumobjekte, die eigentlich zur Skulptur erstarrte Zeichnungen sind. Beiden liegt ein offenes, spielerisches
System zugrunde, in dem das Weggelassene genauso wichtig erscheint wie das Vorhandene, vom Künstler
Gesetzte.

Er bedient sich bewusst und virtuos der Bildsprache der russischen Avantgarde, des De Stijl, vielleicht auch
etwas von Zero. Und da ist es kein Wunder, dass beim Betrachten seiner Arbeiten ein Rauschen vergangener
Namen, Orte, Manifeste und Kunstwerke wahrnehmbar ist.

Bei Åplus reduziert er die Ausstellung auf zwei großformatige Bilder. Beide Bildflächen sind aus verschiedenen,
geometrisch geschnittenen Platten zusammengesetzt, beide sind farblich dezent gefasst. Die zwei Arbeiten
wirken wie eine Klammer innerhalb des Ausstellungsraumes und verweisen auf ein leeres Zentrum.
Die Leerstelle zwischen den beiden Bildern wird vom Betrachter eingenommen, der analog einer Pendelbewe-
gung, die Bilder aktiviert.

„If the postmodernism of the 80s was right in that all new art also reminds of old art, then the
converse argument would be that past art is only perceivable as such if it appears through new art.“

Florian Schmidt creates paintings out of wood, cardboard, canvas and colors that are actually
objects. Some are roughly assembled with staples, others radiate with classic elegance. Similar
principles hold true for the objects, which are like drawings petrified to sculptures. Both are
based on an open, playful system, in which that which is left out seems as important as that which is present,
set by the artist.

He consciously and virtuosicly utilizes the picture language of the Russian avantgarde, the De Stijl, perhaps
also elements of Zero. Therefore it is not surprizing that when viewing/observing/beholding the works, an echo
of past names, places, manifests and artworks is perceptible.

At Åplus, he reduces his exibition to two large-sized paintings. The surfaces of both are compounded by diffe-
rent geometrically cut boards and both are restrained in their colors. The two
works act as a bracket in the exibition room and point to an empty center.
The empty space between the two paintings is taken up by the viewer, who activates the paintings analogous
to the movement of a pendulum.

installation view: at Carl Freedman Gallery / 2013

the deranged fishes around a lump / 2014 / 40 x 32 cm
works under the look / 2015 / 60 x 48 cm
pittor pickgown in khatheinstersper / 2015 / 130 x 100 cm
the comfort under another total joke / 2015 / 150 x 130 cm
installation view: Spike Island / 2012
hystanoscond metents on a mental shelf / 2012 / 30 x 24 cm
kibarunglan amtetet / 2013 / 30 x 24 cm
frumph 1 / 2016 / 30x24cm
bog leobs / 2011 / 51,5 x 41,5
thy mesk / 2011 / 60 x 45 cm
i will fucking tear your eyes out on a shelf / 2011 / 30 x 20 cm
UNTITLED (SKIP) 05 - Acrylic gel, vinyl, cardboard, canvas, wood - 44x32x20 + Pedestal: 120x32x20 cm - 2013
installation view: at RaebervonStenglin / 2015
SPOT- Zach Feuer NY - 2012 ( Installation view)
minuka / 2012 / 40 x 50 cm
drood notoucivias / 2011 / 40 x 30 cm
the pot complains throughout my head / 2015 / 70 x 56 cm
Ivan Seal

*1973 in Manchester, UK
lives and works in Berlin, Germany
1992–1995 Sheffield Hallam University, UK

selected exhibitions

2016
Chevette in dub / RaebervonStenglin / Zurich / CH (S)
A conversation about ceramics / Galleria Monica De Cardenas / Milan / IT
Kollision / Kunstraum Kreuzberg, Bethanien / Berlin / GER
Background / Foreground / Galerie Nordenhake / Stockholm / SWE

2015
Carl Freedman Gallery / London / UK (S)
RaebervonStenglin / Zurich / CH (S)
Magnetic Leakage Fluxes / The Brno House of Arts / Brno / Czech Republic / CZ
The Painter Of Modern Life / Anton Kern Gallery / New York / US
Blue Pink Black / Carl Freedman Gallery / London / UK
Five Years / RaebervonStenglin / Zurich / CH

2014
Mean what you see / Daniel Marzona / Berlin / GER
Poster 6&6´/ Option Gallery / Luzern / CH
Associations New / Salts / Biersfelden / CH

2013
Carl Freedman Gallery / London / UK (S)
Contemporary Art Society / London / UK (S)
RaebervonStenglin / Zurich / CH (S)
Kilomètres/Heure: Utopies automobiles et ferroviaires (1913-2013) / Tour 46 Belfort &
Musée du château des ducs de Wurtemberg / Montbéliard / FR
Anyone For Cricket / Kunstverein Horn / AT

2012
In Here Stands It / Spike Island / Bristol / UK (S)
Changing States of Matter / Brand New Gallery / Milan / IT
Komplexraum #1 Henrik Strömberg und Ivan Seal / General Public / Berlin GER(S)
Frauge / Carl Freedman Gallery / London / UK

2011
Carl Freedman Gallery / London / UK (S)
the object hurts the space / RaebervonStenglin / Zurich / CH (S)
true as applied to you false as applied to you / Krome Gallery / Berlin / GER (S)
Thrill: Exposition Internationale dArt Contemporain / Ancienne Douane / Strasbourg / FR
Splendid Isolation / Susanne Kohler / Lars monrad Vaage / Nationalmuseum / Berlin / GER

2010
I learn by osmosis CEAAC / Strasbourg / FR (S)
Postface / Essays and Observations / Berlin / GER
Drunk Tank / Forgotten Bar – Galerie Im Regierungsviertel / Berlin / GER
Hauntology / University of Berkeley Museum / US
 Åplus
Stromstrasse 38
10551 Berlin

mail@aplusaplus.de
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