Populated by naked young women and saccharine fluffy pets, Martin Eder’s semi-surrealistic paintings are let’s say irritating. His scenarios have a nightmarish feeling and explore the uneasy relationship between fantasy and reality. “Each painting represents a battle,” Eder says. Growing up in a catholic province might have influenced his, as he calls it “old-fashioned” attitude towards art.
In evolution, the word asymmetry is associated with chaos and mutation. The imbalance creates agitation and expels anything from the common pattern. This almost abnormal condition is also inherent of the power for change, the departure.
During the last months, Martin Eder has created a block of work which is composed by new figured abstract sculptures made of aluminium, accompanied by ten canvases and works on paper. An extract of this block is now shown at Galerie EIGEN+ART in Berlin.
Six bizarrely perforated objects made of aluminium with a quicksilverish-mirrored surface are arranged on pedestals spread over a black monolith, standing in the front room of the gallery. The almost liquid metal has frozen into life-sized snapshots, equal to a deliriously seeming transformational process in a raging mechanism of adjustment.
After the realistic oil paintings of the last exhibition UGLY, showing balefully candied naked women with slimy iridescent skin and wispy kittens, the tableau is now acceded by large-scale gray-greenish worn-out bodies “with the complexion of the underbelly of dead fish”, as the artist says himself. Bodies with all their wrinkles and dimples, their straggly hair and damaged nail polish.
“In the face of man there is an infinite entanglement of dodges and evasions that correspond to the mind’s traffic on which everything rests upon. One does not think of ascribing life to the simplicity of the sun, anymore. However, everyone of us carries this simplicity within himself: he forgets about it to the benefit of an entanglement in accidental events which are dependent from the tight-fisted anxiousness of the self.”
Georges Bataille, The Misfortunes of the Present Time (1940), in: Guilty, Paris 1961 (first published)
In evolution, the word asymmetry is associated with chaos and mutation. The imbalance creates agitation and expels anything from the common pattern. This almost abnormal condition is also inherent of the power for change, the departure.
This saturday the Martin Eder exhibition "Asymmetrie" will be opening.
The vernissage is on saturday, 17th of March from 5pm until 9pm at the Eigen+Art Gallery. You can visit the exhibition afterwards until the 5th of May.
During the last months, Martin Eder has created a block of work which is composed by new figured abstract sculptures made of aluminium, accompanied by ten canvases and works on paper. An extract of this block is now shown at Galerie EIGEN+ART in Berlin.
Six bizarrely perforated objects made of aluminium with a quicksilverish-mirrored surface are arranged on pedestals spread over a black monolith, standing in the front room of the gallery. The almost liquid metal has frozen into life-sized snapshots, equal to a deliriously seeming transformational process in a raging mechanism of adjustment.
After the realistic oil paintings of the last exhibition UGLY, showing balefully candied naked women with slimy iridescent skin and wispy kittens, the tableau is now acceded by large-scale gray-greenish worn-out bodies “with the complexion of the underbelly of dead fish”, as the artist says himself. Bodies with all their wrinkles and dimples, their straggly hair and damaged nail polish.
“In the face of man there is an infinite entanglement of dodges and evasions that correspond to the mind’s traffic on which everything rests upon. One does not think of ascribing life to the simplicity of the sun, anymore. However, everyone of us carries this simplicity within himself: he forgets about it to the benefit of an entanglement in accidental events which are dependent from the tight-fisted anxiousness of the self.”
Georges Bataille, The Misfortunes of the Present Time (1940), in: Guilty, Paris 1961 (first published)
We hope to see you there!
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