carla_tyra preview

Carla Scott Fullerton
If these walls had ears
Opening Reception: September 15th, 2015
Until: 31st October, 2015
Chert, Berlin
www.chert-berlin.org
Chert is pleased to present the third solo exhibition of Glasow based artist Carla Scott Fullerton.
Carla belongs to a generation of Scottish artists strongly attached to a tradition of sculpture and manufacture that
incorporates architectural references and touches environmental questions.
Visiting one of her exhibitions often feels like walking around the streets of Glasgow, as many of the city’s decorative
elements and fabricated structures have served as inspiration for her work.
Carla was born in 1980 in Scotland to a family with a farming background. Her life, therefore, is split between the city
and the countryside with all its tasks, such as breading sheep and working the land.
The roughness of the city and the calm of the countryside are both present in her work, as well as the strong manual
labour required by farm work and, on the other hand, the more sedentary / industrialized activities of a vibrant city.
For her latest project in Berlin, titled If these walls had ears, the artist has developed a new series of “Screen Sculpture”, a
work she first produced after her residency at the Frans Masereel Centrum in Kasterlee, Belgium, where she had access
to old screen-print frames.
The works are in fact the remains of several screen prints: the frame itself with its silk fabric, after having been used for
many prints which are thrown away, is then the only remaining part, which gets exhibited. These pieces will be displayed
around the gallery space supported by constructions bricks of different materials and functions.
Together with those, Carla has developed a new series of works - again sculptures - which function as stands for various
objects and materials. These copper–rebar sculptures connect the floor and the walls of the space and create a display
that welcomes the visitors into the gallery.
-Carla Scott Fullerton was born in 1980 in Edinburgh. She lives and works in Glasgow.
Recent solo exhibitions include Concrete Ribs, Govenhill Baths, Glasgow; DOCU-PRESS 4, Frans Masereel Centrum, Belgium; Hard edge,
Soft line, David Dale Gallery, Glasgow; Cut-Fill-Skim, The Royal Standard, Liverpool.
Recent group exhibitions include: Abstraction from Architecture, Edinburgh Print Studio; Every Day, GoMA, Gallery of Modern Art,
Glasgow; Industrial Aesthetics: Environmental Influences on Recent Art from Scotland, Times Square Gallery of Hunter College, City
University of New York.
Skalitzerstr. 68
D-10997 Berlin
T. +49 (0)30 75442118
F. +49 (0)30 75442120
[email protected]
www.chert-berlin.com
Carla Scott Fullerton
Inked Screen (by-stand), 2015
silk screens, screen printing ink
58 x 79 cm (22 7/8" x 31 1/8")
Unique
Exhibition history:
Carla Scott Fullerton "Concrete Ribs”" at Govenhill Baths, Govenhill Baths, Glasgow, 2015
Courtesy the artist and Chert, Berlin
Carla Scott Fullerton
Inked Screen (starting point), 2015
silk screens, screen printing ink
122 x 79 cm (48" x 31 1/8")
Unique
Exhibition history:
Carla Scott Fullerton "Concrete Ribs”" at Govenhill Baths, Govenhill Baths, Glasgow, 2015
Courtesy the artist and Chert, Berlin
Courtesy the artist and Chert, Berlin
Carla Scott Fullerton
Inked Screen (strokes), 2015
silk screens, screen printing ink
95 x 115 cm (37 3/8" x 45 1/4")
Unique
Exhibition history:
Carla Scott Fullerton "Concrete Ribs”" at Govenhill Baths, Govenhill Baths, Glasgow, 2015
Courtesy the artist and Chert, Berlin
Courtesy the artist and Chert, Berlin
Carla Scott Fullerton
Inked Screen (we go together), 2015
silk screens, screen printing ink
82 x 100 cm (32 1/4" x 39 3/8")
Unique
Exhibition history:
Carla Scott Fullerton "Concrete Ribs”" at Govenhill Baths, Govenhill Baths, Glasgow, 2015
Courtesy the artist and Chert, Berlin
Tyra Tingleff
I gave the postman your name
Opening Reception: September 15th, 2015
Until: October 17th, 2015
Chert, Berlin
www.chert-berlin.org
Gertrude Stein wrote how emotional paragraphs are generally made up of unemotional sentences. There is something
true to this beyond writing.
Everything can be broken up into mechanical sub-categories of dispassionate particles: The funeral is made up of black
fabric, which was mass-produced in India. The wedding is made up of glasses and plates that were ordered from the
event supplier. A birth is made up of an epidural anesthesia.
The sentences: the black fabric, the wine glasses, the large needle need only move or behave in the slightest manner, be
touched by a certain protagonist, or lie next to another sentence before they gain momentum and form a paragraph.
And you can be sure that most of those paragraphs go down a predictable path: the polyester black fabric becomes
the hotel ‘do not disturb sign’ for the widow’s tears, the wine glasses shatter on the floor while chatter about divorce
permeates, and the anesthesia, well, is there to numb, so there must be something awfully painful to numb.
The sentences tend to flow down common crevices. And the common knowledge of those sentences bring them together
into large paragraphical waterfalls.
It’s the ease of the river’s current that Tyra Tingleff avoids in her paintings. Each layer of paint is a sentence that quickly
gains momentum. So, she diverges it with the introduction of a new sentence and then the next. The moment a stream
picks up speed, it is branched off into another direction. And so when tragic mourning tickles the seams of the black
fabric, Tingleff might submerge it under the ocean where a few tears won’t make a difference.
But that’s just a metaphor, because we are of course talking about painting. An English sentence tends to run left to right,
and its paragraph top to bottom. A painting’s sentence doesn’t follow English, Asian or Arabic guidelines, it moves at free
will, left right, up and down all at once. Its paragraphs move forward, towards you away from the wall. The sentences
run right on top of each other, blocking, correcting and negotiating their disagreements. They are unruly siblings,
sometimes letting another speak, to only later rudely cut in, bulldozing anything in its path. The painting’s sentences
have hacked each other into halves, their speech split into quarters, and their words folded into eighths.
Emotional paragraphs are made up of unemotional sentences. Could we call each accumulation of fragmented sentences
a paragraph? It’s not emotionless, it’s just a letter pasted together from thousands of newspaper clippings, each typed
character came from another story perhaps about a death, a wedding or a birth. They were selected, cut out, pasted onto
the paper, packed and sent out. I gave the postman your name. And when you open it you’ll see that they are paragraphs
to be sure.
Anna Szaflarski
-Tyra Tingleff was born in 1984 in Norway. She lives and works in Berlin.
Recent solo exhibitions include Closer Scrub, SALTS, Basel, Switzerland; Studiolo 12 # Tyra Tingleff, Spacio Cabinet. Milan.
In the next future her work will be presented in a solo exhibition at the Sunday Painter, London.
Skalitzerstr. 68
D-10997 Berlin
T. +49 (0)30 75442118
F. +49 (0)30 75442120
[email protected]
www.chert-berlin.com
Tyra Tingleff
Closer Closure, 2015
Oil on raw linen
300 x 200 cm (118 1/8" x 78 3/4")
Unique
SIGNS FICTION, Ruth Wolf-Rehfeldt
ABC, Art Berlin Contemporary
17-20 September 2015
www.artberlincontemporary.com
www.chert-berlin.org
Chert gallery is pleased to participate in this year´s ABC with the exhibition “SIGNS FICTION” by Ruth Wolf-Rehfeldt,
a project that was first presented in her solo exhibition at the gallery earlier this year.
Historical works by the Berlin artist have been selected and arranged to offer an overview of her production, focusing
especially on her involvement in the Mail Art movement.
The table displays show a wide selection of her “postcard” pieces, produced in mailable size.
The connection with the city of Berlin and the former use of the Station Berlin (an old post office deposit), offer the
perfect environment to re-propose this exhibition to the public.
The pieces presented are all part of her series of Zyncographies editions, produced between late seventies and eighties.
On this occasion a new special edition has been produced, which re-propose three motives (to, from, letter) and will be
available at the stand.
--Ruth Wolf-Rehfeldt began to write poems, draw and make collages in the early 1970s.
Her first typewriter works, which she entitled “Typewritings” and whose diversity defies description, were produced
on an Erika typewriter. With impressive precision, she arranged letters and punctuation marks into pictorial elements,
often creating a three-dimensional effect. The humour and finesse of her work made Ruth Wolf-Rehfeldt a sought-after
contact person in the network of international artistic exchanges.
Born in 1932 in Wurzen, Saxony, she is one of the few women artists from the former GDR to address in depth the
relationship between text and image. Through their involvement in the Mail Art network, she and her husband Robert
Rehfeldt were able to surmount the ban on exhibitions and publications by alternative artistic means during the GDR
period. Her artistic activity came to an end with the unification of Germany in 1989.
Each of her works consists of an original - either an individual typed work or a series - and of further reproductions
in the form of carbon copies, postcards or prints in formats ranging from A5 to A2. These works can just as easily be
situated within the context of conceptual art or visual and concrete poetry as they can in the domain of Mail Art.
(Text extract from “Ruth-Wolf Rehfeldt, Original Graphic Works 1972-1989” the first major exhibition of her poetic and
visual “Typewritings”, The Stiftung Neues Museum Weserburg, Bremen 2012).
--Ruth Wolf-Rehfeldt was born in Wurzen in 1932. In 1950 she moved to Berlin — where she still lives today— studying
at the workers’ and farmers’ faculty in 1951. In 1954 she met Robert Rehfeldt, they married one year later. She was
employed by the department for exhibitions at the Academy of Arts and made drawings in her spare time. At the start of
the 1970s she started to develop her typical typewriter graphics (Typewritings) and participated in the Mail Art projects.
She became member of the Association of Fine Artists of the GDR in 1978.
Skalitzerstr. 68
D-10997 Berlin
T. +49 (0)30 75442118
F. +49 (0)30 75442120
[email protected]
www.chert-berlin.com
RW-R/ 2887/1, Ruth Wolf-Rehfeldt
Cages on the run, 1980s
Zincography
21 x 15 cm (8 1/4" x 5 7/8")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2893/1, Ruth Wolf-Rehfeldt
Wucherungen, 1970s
Zincography
21 x 14.5 cm (8 1/4" x 5 3/4")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2894/1, Ruth Wolf-Rehfeldt
Growth (diptych), 1970s
Zincography
21 x 14.5 cm (8 1/4" x 5 3/4")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2895/1, Ruth Wolf-Rehfeldt
Artmosphere, 1970s
Zincography
21 x 14.5 cm (8 1/4" x 5 3/4")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2858/1, Ruth Wolf-Rehfeldt
A Letter, 1980s
Zincography
10.5 x 14.5 cm (4 1/8" x 5 3/4")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2856/1, Ruth Wolf-Rehfeldt
From, 1980s
Zincography
10.5 x 14.5 cm (4 1/8" x 5 3/4")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2855/1, Ruth Wolf-Rehfeldt
Untitled, 1980s
Zincography
14.5 x 10.5 cm (5 3/4" x 4 1/8")
Edition 1/10
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015
RW-R/ 2857/1, Ruth Wolf-Rehfeldt
To, 1980s
Zincography
10.5 x 14.5 cm (4 1/8" x 5 3/4")
Edition 1/50
Exhibition history:
SIGNS FICTION, Ruth Wolf-Rehfeldt, Chert, 2015