Gathering the Unpredictable: Paula Doepfner, Felix Kiessling, Schirin Kretschmann, Simon Mullan, David Prytz, Antoine Renard

03.06.20 — 18.09.20

Paula Doepfner, Felix Kiessling, Schirin Kretschmann, Simon Mullan, David Prytz, Antoine Renard



Mario Iannelli is pleased to introduce the exhibition "Gathering the Unpredictable", ideally envisage all the artist's work who took part and cooperated decisively at Galleria Mario Iannelli and developing a collective dialogue based on some central artwork elements giving in this case scenario, place and importance.


Among the latter, the unpredictability refers to a "process of thoughts" emphasized by their creators, combined with how materials are used.


These works have never been exhibited at the gallery while others have already been presented but altered their shape over time, such as those of Felix Kiessling and Schirin Kretschmann in which the action-time of graphite and grease continues since the time of their realization.


"Clock-drawing" of Felix Kiessling; a piece of graphite tied to the hand of a clock mechanism is dragged onto cardboard, drawing traces with its perpetual movement generated by time, in effect for four years.

"Labor (II)" of Schirin Kretschmann is an "in situ "artwork the applied grease to the wall soak it and gives shape to drippings and halos that change the artwork backdrop and at the same time scrutinizing the space with its presence; it is exhibited for the third time in consecutive exhibitions.

"It's been so long" of Paula Doepfner introduce in her work another temporal element beyond the title, for the transience of the details of which it is composed, pigments, dried plants and flowers integrated into a chipped armoured glass.

Wax is the material used by Antoine Renard for the creation of sculptures that in reality are the artist studies and abstract architectural constructs he realized during his recent residency in Rome at Villa Medici, all belonging to his research on scents and plants.

"Alfonso" by Simon Mullan, made with tiles, pays tribute to an assistant, the collaborative intervention in the realization of the work incorporating thereby a collective sense in the interest of producing work based on inferior materials of the industrial world.

"A puzzle" by David Prytz embodies a set of eleven works in a framed paper on a different size, it invites to perceive as a convene unicum. The sign leaves traces of the literal-minded process of the geometric drawing seen as a kinetic movement.


All the works clearly show a relationship with nature and daily life that is mirrored in the material choices.


The unpredictability is more in the changeability than in the imponderability, or, in the process that has no fixed paradigms from which start or arrive, which from time to time is originated according to the circumstances, giving rise to works with non-programmable results and similar to a living form.

Everything is part of the whole: the influence of multiple external factors on the graphite’s action and, on the shape (Kiessling) the fat acts on the wall, or the wall reacts to the fat (Kretschmann), the accidental dialling such as glass chipped, the pigment that flows freely on it and the natural matter iridescent aspect (Doepfner), the wax that melts and breaks and releasing the internal essence (Renard), the intimate composition appearing as order (Mullan) and the chaos which represent the life itself (Prytz).

The same as the one in line with artists not present in this exhibition but whose research fully adheres to the same concept.


In Daniel Lergon's paintings are a system of non-repeatable signs and not totally recognizable gestures or, in the "blind painting" of Yorgos Stamkopoulos, wherein the procedure is finally revealed in complex, fragmented elements; in the co-presence of organicity and intensity of expression in the works and in the environments of Claus Philip Lehmann, in the ironic ruthlessness of the images' communication by Tom Esam, in the technological imagination in the works of Philip Topolovac and in the functioning of the device explored in Joe Clark's photographs, in the found and reassembled traces of Cyrill Lachauer narratives, in the liquid materials in the works of Sarah Ancelle Schoenfeld and in the painting of Tyra Tingleff equal to an experience free from bias.

This set of correspondences also extends to the research of artists who exhibited their works at the gallery even if only once in a group exhibition: Jan Bünnig, Julian Charriere, Dario D’Aronco, Stanislao Di Giugno, Alvaro Urbano, Anna Virnich and Julius Von Bismarck.

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