• Peles Empire’s 1EYE 2EYES: Staging copied versions of an original

    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good

    For their second solo show at WENTRUP, Peles Empire has designed a large-scale installation which is based on their many years of exploring the relationship between original and copy, and whose concrete starting point is the ensemble of spaces in the gallery on Tempelhofer Ufer. Strategies of optical flattening out and illusion, the transformation from 3D to 2D and back to 3D, and not least the question as to if and when a work can ever be understood to be completed — these are some of the motifs Peles Empire handles in their exhibition 1EYE 2EYES.

    Even while they were students at Frankfurt’s Städelschule, the duo Katharina Stöver and Barbara Wolff began its research into Schloss Peles in Romania, a project that is not merely preserved in their pseudonym Peles Empire but actively continues. The castle, an eclectic building in the style historicism, programmatically represents Stöver and Wolff’s practices of appropriation and the re-staging of architectonic structures.

    At WENTRUP, the new show 1EYE 2EYES includes a complete re-staging of the gallery space. New sculptures, photographic wallpaper, Jesmonite objects, carpets printed with photographs, and paintings form an all-embracing installation whose motifs have been generated from images previously recorded within the very same gallery space. For instance, on some of the 2 x 3 m carpets, photographs of earlier stagings at WENTRUP or of leftover packing materials are visible. Peles Empire here employs classical painterly techniques of trompe l’oeil, but also combines them with more recent phenomena in the history of architecture and photography such as “forced perspective” images, which redefine proportionalities within representation—reality relations.

    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good

    Their piece rests sculpturally on the gallery topography and portrays it with itself — altered, however, in medium and material. A comparison with Jorge Luis Borges’s well-known story “On Exactitude in Science” comes to mind, in which the map of the world has attained the dimensions of the world itself and suddenly original and copy lie spatially one on top of the other and the copy is identical to the original in every respect. In 1EYE 2EYES, Peles Empire particularly takes spatiality and perspectival seeing as its point of departure, transforming the spaces of the gallery through a seamless installation in such a way that the copy copied here emerges as an independent and therefore new original.

    Peles Empire has had solo shows at the Wilhelm-Hack-Museum, Ludwigshafen; S.A.L.T.S., Birsfelden (Switzerland); PRO/NUM, London; ten/pm, Copenhagen (all 2015); GAK Bremen, Bremen (2014), Cell Project Space, London; Kunstmuseum Stuttgart and the GSS in Glasgow (all 2013). It participated in group shows at the Kunstverein Braunschweig, Braunschweig; Kunstwerke, Berlin (all 2015), The Moving Museum, Istanbul (2014), Shanaynay, Paris, NKV Wiesbaden, Bundeskunsthalle Bonn (all 2013), the Temple Bar, Dublin; V22, London and ‘Bold Tendencies’ in London (all 2012).

    In 2011, Peles Empire was selected for Frieze Projects at the Frieze Art Fair in London. Shows in 2009 included ORTON.nl, Rotterdam. In 2007, the MAK Center for Art and Architecture invited Peles Empire to the Schindler House, Los Angeles, as part of its artist-in-residence program

     

    Peles Empire
    1EYE 2EYES
    Exhibition: 30 April —16 June 2016
    At: WENTRUP Gallery, Berlin

    Text by Nico Anklam

    Source: presstext

    More info: www.wentrupgallery.com

    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Exhibition view: Peles Empire – 1EYE 2EYES, at WENTRUP, Berlin / Courtesy the artist and Wentrup, Berlin / Photo: Trevor Good
    Tina Sauerlaender

    Tina Sauerlaender

    Tina Sauerländer is an art historian, curator and writer based in Berlin. With her label peer to space she has been organizing and curating exhibitions in different fields of contemporary art for several institutions and galleries since 2010, e.g. PORN TO PIZZA—Domestic Clichés (2015), Dark Sides Of… (2015), Across the Lines (2014), Visual Noise (2014), Money Works Part 2 (2014) or Entering Space (2013). She is the author of many texts on contemporary artists for catalogs, magazines or journals, e.g. Taryn Simon, Alicja Kwade, Carsten Nicolai or Anselm Reyle for the Kritisches Lexikon der Gegenwartskunst. Her website is www.peertospace.eu.

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