gerlach en koop - Was machen Sie um zwei? Ich schlafe.

Opening: 18 September 2020, 19.00 hrs.
19 September 2020 – 28 February 2021

GAK Gesellschaft für Aktuelle Kunst
Teerhof 21
D-28199 Bremen

<p>Earthenware pillow, 1920–1940, Shanxi (China). Courtesy: gerlach en koop.</p>

<p>Installation view (falling asleep).</p>

<p>(l-r) <em>Conferma partecipazione esposizione</em>, 1970, Emilio Prini. Courtesy: Archivo Emilio Prini, Turin; <em>Fruit from Fuzhou</em>, 2012, Voebe de Gruyter. Detail.</p>

<p><em>Conferma partecipazione esposizione</em>, 1970, Emilio Prini. Courtesy: Archivo Emilio Prini, Turin.</p>

<p><em>Fruit from Fuzhou</em>, 2012, Voebe de Gruyter. Detail.</p>

<p><em>Head Box</em>, Kitakyushu, October 2004, Jean-Luc Moulène. Courtesy: KADIST collection, Paris.</p>

<p><em>Marble Conduits</em>, 1992, Rita McBride. Detail. Courtesy: Brenda R. Potter Collection.</p>

<p><em>Melancholia (replica)</em>, 2020, Laurent Montaron. Courtesy: Monitor, Rome, and Anne-Sarah Bénichou, Paris.</p>

<p><em>chinese whispers</em>, 2020, Gabriel Kuri. Detail. Courtesy: kurimanzutto, Mexico City/New York.</p>

<p><em>No Water</em>, 2019, Kasper Bosmans. Detail.</p>

<p><em>Bedroom</em>, 1975, Guy Mees. Courtesy: Gallery Sofie Van de Velde, Antwerp.</p>

<p><em> Untitled</em>, 2006, Kitty Kraus. Courtesy: Galerie Neu, Berlin.</p>

<p><em>Miamilism</em>, 2010, Melvin Moti. Courtesy: Meyer Riegger, Berlin/Karlsruhe.</p>

<p><em>Melnikov project, lab b (silver)</em>, 2011, Ian Kiaer. Courtesy: Alison Jacques Gallery, London, Marcelle Alix, Paris, and Galerie Barbara Wien, Berlin.</p>

<p><em>Melnikov, silver sleep</em>, 2020, Ian Kiaer. Courtesy: Alison Jacques Gallery, London, Marcelle Alix, Paris, and Galerie Barbara Wien, Berlin.</p>

<p><em>Empty Room</em>, 2020, Daniel Gustav Cramer. Courtesy: Vera Cortes, Lisbon; SpazioA, Pistoia and Sies + Höke, Düsseldorf.</p>

<p>(l-r) <em>Marble Conduits</em>, 1992, Rita McBride. Courtesy: Brenda R. Potter Collection; <em>Melancholia (replica)</em>, 2020, Laurent Montaron. Courtesy: Monitor, Rome, and Anne-Sarah Bénichou, Paris.</p>

<p><em>Bit</em>, 2015, Mark Geffriaud. Courtesy: gb agency, Paris.</p>

<p><em> Verloren Ruimte </em>[Lost Space], 1995, from the archive of Guy Mees. Courtesy: Gallery Sofie Van de Velde, Antwerp.</p>

<p><em>As Yet Untitled 1</em>, 2018, Henrik Olesen.</p>

<p><em>Passing through the Rubber Band</em>, 2000, Shimabuku. Courtesy: Air de Paris, Paris, and Amanda Wilkinson, London.</p>

<p><em>Saisir</em>, 2018 – ongoing, Ismaïl Bahri.</p>

<p>(l-r) <em>Slampadato</em>, 2017, Bojan Šarčević. Courtesy: MANIERA, Brussels; <em>LXIII</em>, 2020, Daniel Gustav Cramer. Courtesy: Vera Cortes, Lisbon; SpazioA, Pistoia, and Sies + Höke, Düsseldorf.</p>

<p><em>LXIII,</em> 2020, Daniel Gustav Cramer. Courtesy: Vera Cortes, Lisbon; SpazioA, Pistoia, and Sies + Höke, Düsseldorf.</p>

<p><em>Introductions roses</em>, 1995–2020, Jacqueline Mesmaeker. Detail. Courtesy: Galerie Nadja Vilenne, Liège.</p>

<p><em>Sidewalk cover (Chicago Version)</em>, 1998, Helen Mirra. Courtesy: Galerie Nordenhake, Berlin/Stockholm/Mexico.</p>

<p><em>In the absence of Peter Friedl.</em></p>

<p><em>I know but when you ask me, I don’t</em>, 2010, Steve Van den Bosch.</p>

<p><em>Wooden Pillow</em>, 1930 Shaan Xi (China). Courtesy: gerlach en koop.</p>

<p><em>Perfect Europe (They)</em>, 2010, Annaïk Lou Pitteloud.</p>

Photography Johannes Schwartz

In an exhibition at the edge of sleep gerlach en koop display works by other artists:
Ismaïl Bahri, Kasper Bosmans, Daniel Gustav Cramer, Mark Geffriaud, Voebe de Gruyter, Ian Kiaer, Kitty Kraus, Gabriel Kuri, Rita McBride, Guy Mees, Jacqueline Mesmaeker, Helen Mirra, Laurent Montaron, Melvin Moti, Jean-Luc Moulène, Henrik Olesen, Annaïk Lou Pitteloud, Emilio Prini, Bojan Šarčević, Shimabuku, Steve Van den Bosch
and a contribution by writer Haytham El-Wardany

What do you do at two?
I sleep.
At three?
I sleep.
At four?
I sleep.
At five?
I sleep.
At six?
I sleep.
At seven?
I sleep.
At eight?
I sleep.
At nine?
I wake up.

In May 1961 Alberto Moravia invited Claudia Cardinale for an interview. To her surprise, Moravia proposes to question her as an object in the room. The interview is divided in two parts. In the first part Moravia tries to record how Cardinale appears in the room, in the second part how she disappears—into sleep.

In bright daylight the objects distinguish themselves from you without any effort at all: the headphones on the couch with the cord in an elegant curl on the floor; the scissors on the desk, not closed but in the shape of an x; the chair that has not been drawn up; the black-and-white postcard stuck on the wall with Blu Tack; the glass of water without water on the small metal table mobiltecnica torino close to the bed; the shoes side by side close to the leg of the table. At night however, when you are asleep, the boundaries become fluid. Differentiation turns into mutual sympathy. The objects are approaching us. We are approaching the objects. No, our bodies are approaching the objects.

Exhibition booklet
pdf EN (253 kb)
pdf DE (270 kb)