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Yonatan Vinitsky, Speed Corner Poster 40, 2013, Installation View, Frutta

Yonatan Vinitsky, Speed Corner Poster 40, 2013, Installation View, Frutta

Yonatan Vinitsky, Speed Corner Poster 40, 2013, Installation View, Frutta

Frutta has invited four galleries to literally invade the gallery space. Individually, each show acts as a pit stop both in the programme of Frutta and for the invited galleries. Together, they open up the gallery space to divergent practices and researches.

 

Part 1
Limoncello, London
Yonatan Vinitsky, Speed Corner Poster 40

10 – 27 April 2013

Vinitsky’s rich practice is tricky to get to grips with, as so many divergent things happen simultaneously within his works and exhibitions. Attempting to designate different strands* gives us a list of tools with which to begin looking:

Starting with his #use of source imagery: every single work begins with a real, existing element from the world, art or otherwise. It is then #translated or reproduced into Vinitsky’s own works. This, almost incidentally, leads to the#creation of narratives through orchestrating information and releasing it afresh, but more importantly the ‘translation’ is effected through his #decision-making processes and #specificity of materials. Vinitsky corresponds his imagery and concept to the materials in each work; an example being his limited seven-colour palette (derived from matching colours to those sampled in road markings in London, or a train station in Warsaw, for example) used in his monochrome paintings. This specificity is played out in his media captions, sometimes pages long, detailing every component part of a work.

#Development of techniques is paramount and is another form of Vinitsky’s palette: with his monochromes he developed back-painting on acetate and has now moved to painting on glass. Other examples include his etching with plasticine, or ‘drawing’ using rubber bands or lengths of elastic stretched round nails to delineate shapes. These techniques and materials are inextricable from how he finds #display solutions for each work, which often points to the institution, irrespective of the actual context, from the humblest project space to the museum itself.
More than multi-disciplinary, Vinitsky has #mercurial aesthetics, jumping wildly to the extent that the works seem to be made by a number of artists, evoking a group show within his solo shows. Aided by his #collaborations, often sought through the people featured in his sources, rather than orthodox artistic collaboration, he approaches his collaborators as materials. Vinitsky’s entire enterprise is only fully realized in his #exhibition-making, either beginning with a story to form works within an exhibition or more often, selecting works that will sit together to create a dense web of connections between them.

*This small list merely details a number of strands; to give body and elucidation requires a longer list of sub-strands… another time.
This exhibition marks the first presentation of Vinitsky’s work in Italy; which will be followed by his forthcoming solo booth at Liste18, Basel; and the start of his 8-month residency at Palais de Tokyo, Paris, in November. He also has a book ‘VINITSKY YONATAN KISKÖNYVE’ launching during a group show at Czarna Galeria, Warsaw, this month. Born 1980 in Jerusalem, Vinitsky currently lives between London and Haifa, Israel. He studied in London at Goldsmiths (2006) and Royal College of Art, Sculpture (2009).

Space Invaders, 2013, Frutta, Rome

Gizela Mickiewicz, Persistent Front, 2013, Installation View, Frutta, Rome

Gizela Mickiewicz, Persistent Front, 2013, Installation View, Frutta, Rome

Gizela Mickiewicz, Persistent Front, 2013, Installation View, Frutta, Rome

Part 2
Galeria Stereo, Poznań
Gizela Mickiewicz, Persistent Front

3 – 18 May 2013

A car bonnet after an accident converted into a gate wing. I forgot I had seen it. A few days later, when crumpling a receipt, I retained the lost image. I was helped to recreate it by a zigzag of paper which looked similar to the dents on the sheet of metal. If the time span between the images had been longer, the association might never have occurred and I would not have remembered. Each image one sees has its own specific duration. It lingers despite the transfer of the gaze. That is why one can roughlydetermine what they have at the back of their heads.
You cannot see all the sides at the same time. Vision is incomplete. The unseen prevails. There is only the front and the rest is guessed.
— Gizela Mickiewicz

Knut Henrik Henriksen, …like the sun and the moon, 2013, Installation View, Frutta, Rome

Knut Henrik Henriksen, …like the sun and the moon, 2013, Installation View, Frutta, Rome

Knut Henrik Henriksen, …like the sun and the moon, 2013, Installation View, Frutta, Rome

Knut Henrik Henriksen, …like the sun and the moon, 2013, Installation View, Frutta, Rome

Part 3
Sommer & Kohl, Berlin
Knut Henrik Henriksen, …like the sun and the moon
25 May – 14 June 2013

Knut Henrik Henriksen often works in direct dialogue with the exhibition space. Sizes and shapes of his sculptures are determined by architectural and aesthetical details and a public space that has changed over time.

For this exhibition, Henriksen has developed several sculptures that deal directly with the shape and the character of the Frutta gallery space. The fact that Frutta soon will move to a new location was the starting point to create sculptures defined by the space, as well as relics and objects as memories of that specific space.

The central piece in the exhibition is “Sticks to measure volume to be rebuilt somewhere else”. It is a sculpture created by Henriksen measuring the gallery with several sticks, paper, objects and coloured tape. With this measuring system an object is created which you can take with you to exactly replicate this particular volume in another location. Alternatively, the sculpture can stand as a memory of a volume that has gone.

Henriksen’s way of working comprises an infinite potential for sculptures which all refer to a given space. He measures rooms, visualises structures, builds or dismantles walls and twist materials and unfolds the production process with standard materials. In this show, he will also present “Black Avalanche”, two charcoal dust drawings made on woodchip wallpaper hanging from the ceiling. Burned wood and charcoal dust particles fall from above and settle on the woodchips integrated in the wallpaper, visualising the wood inside the paper. These sculptural drawings are a “hommage to wood” and central to Henriksen’s way of thinking – with a respect for production and material – like creating sculpture with minimal energy yet maximum effect.

As the moon reflects the light from the sun, and the sun visualises the shape of the moon, Henriksen’s sculptures can be seen in the same light – sculpture defined by the site where it is shown, but at the same time reflecting the space in order to see it in a new and constantly changing light.

Die Dritte Dimension, 2013, Installation View

Space Invaders, 2013, Frutta, Rome

Die Dritte Dimension, 2013, Installation View

Part 4
Supportico Lopez, Berlin
Die Dritte Dimension – Group show

20 June – 13 July 2013

Die Dritte Dimension in 1962 was a movie with Sophia Loren by Anatole Litvak, in 2002 was a show by Manfred Pernice at Portikus in Frankfurt, in 2013 an exhibition by Supportico Lopez at Frutta, Roma.

With: Henri Chopin, Maria Adele Del Vecchio, Giulio Delvè and Natalie Hausler.