Galleria Mario Iannelli is pleased to present the solo exhibition “Half my soul belongs to you” by Paula Doepfner and the solo exhibition “Lines and Grids” by Daniel Lergon from 6 October to 20 November 2021.
Paula Doepfner’s multimedia body of work encompasses textual works on paper, reinforced glass objects, installations in glass, ice and organic matter with sound performances. Her drawings, delineated in miniature script on fine Japanese paper, are based on sketches made while observing brain operations and autopsies at the Charité Berlin. The texts themselves are drawn from medical documents on human rights and neuroscientific research and carry traces from philosophical and lyrical sources. Doepfner’s work combines various perspectives on states of mind, incorporates the passing of time and lays bare internal organic structures. Her work proceeds from what constitutes human experience, a complex combination of science, philosophy, literature and art.
Galleria Mario Iannelli presents a new drawing and new works in glass and ice by Paula Doepfner. The ice piece titled “I got a letter this morning” will melt during the exhibition and contains texts transcribed by the artist from poems by Giuseppe Ungaretti and Sylvia Plath. Doepfner’s drawing titled “The blues came along and drove my spirit away” (2021) consists of writing in the smallest of scripts. The lines of text in the drawing are taken from UN medical reports on the investigation and documentation of torture and from Robert Musil’s novel “Der Mann ohne Eigenschaften” (Engl. “The Man Without Qualities”). In the glass work entitled “I get the blues for you baby when I look up at the sun” (2021) Doepfner has transferred sketches of areas of the brain to large pieces of glass. These pieces of glass are reinforced panels that have been removed from the facades of buildings having been smashed during anticapitalist demonstrations.
In her works - which include textual drawings, sound performances and works in glass and ice - Paula Doepfner combines opposites and integrates distant temporalities as a means of visualizing the tensions present in human experience.
Daniel Lergon’s painting work raises questions about perception, experience and intuition, simultaneously with those of optics, light, matter and form.
His painting technique in general is characterized by the interaction of different surfaces of the canvas (as painting ground) with the different applied painting substances.
He used transparent and synthetic varnishes on retro reflective fabric and high-tech fabrics, elemental metals like powdered copper, zinc, and oxidized iron with water on wall, metal, canvas and paper and recently pigments in oil on a canvas which was either primed on neon yellow to highlight the background’s luminosity.
These techniques “charge” the painting ground with a physical or chemical potential or simply a potential of color and they also charge the work’s “eigenraum”, or “own space”, in which the viewer shares an emotional and physical reaction to painting.
“By displaying states of action and flow” on such a charged surface “Lergon's compositions are representations of transformation”. (Aaron Bogart, from the text of the catalogue of the exhibition "Roter Reise", 2019)
In his solo exhibition, Daniel Lergon presents a recent cycle of works on paper made with alizarin crimson red. Previously he exhibited in the gallery a series of paintings similarly made with one pigment, a phthalo green (Unter Grün, 2017) and showed one work executed with the alizarin red oil pigment (Monochromes, group exhibition, 2019).
In these works the artist has explored the potential of color through different pictorial registers, from a more minimal one in which he draws with an oil bar on a neutral white background to another in which, on the contrary, the painting emerges from a scratched and vibrant surface. In the latter one, the red pigment, that was used before to draw, is applied through a metal grid and then partly scraped away by hand.
The exhibitions open “Work in process #1”, a group exhibition project that follows on from “Work in process”, the recent publication - published by CURA. - which documented the gallery’s activity from 2014 to 2021.