Joerg Hiller

Kitty Kraus

Sabri Atalay Yavuz

                                                                                                                                                                             Going Nowhere

Minimal art's logical end was foreseen from its inception.  Sol Lewitt described it as "self defeating because simplicity of form could only go so far."  Taking its title from Lewitt's statement that "minimal art went nowhere" this exhibition presents three works by three artists whose practices involve an extreme paring down of form. Each work has a poetic quality that derives from an engagement with the ephemeral and non-material. They adhere to those things that are fleeting, drawing one's attention to what is around us but rarely perceived.   

 Joerg Hiller, (born 1977) presents a record pressed on a 10" circular mirror.  The audio is that of the record's own grooves being cut, the actual sound is of the object's own creation -- a process that transfigures the mirrored disc from providing a true reflection of what is in front of it.  Here, one of the key formal elements of the object provides an immaterial document of the work itself.  Hiller is a German composer, musician, conceptual artist, instrument builder, and producer as well as owner of Choose record label.  He has worked closely for several years with Minimalist Music composers Arnald Dreyblatt, Ellen Fullman, and Thomas Ankersmit.  As a musician he performed under the title Konrad Sprenger with such bands as Ethnostress and Ei.

Kitty Kraus (born 1976) is a German artist whose practice often incorporates fragile or even non-physical materials such as heat, ice, glass, and mirrors.  A play between controlling the materials and relinquishing them to outside forces plays a key role in many of her works. This play of material can be seen as an extenuation of early minimalists' attempts to overcome systematic confines with material -- Flavin's light works may be the most relevant example.  Kraus's use of materials grants them a level of credence that transcends the rigid system of minimalism.  The untitled video presented in this exhibition shows a record player with a needle hovering just millimeters above a spinning record. The needle reflected in the black vinyl wavers dangerously close to its physical counterpart, creating tremendous tension as the expectation of contact pursues. It is this void that is central to the work.  Kraus has exhibited widely, including solo exhibitions at White Cube in London, the Guggenheim Museum in New York, and Kunsthalle Zurich.  

Sabri Atalay Yavuz (born 1988) studied pharmacy at Marmara University. Upon graduation Yavuz began staging performances aimed at subverting the traditional gallery and institutional settings. Later he began to produce works from materials and processes related to his studies in pharmaceuticals. In this exhibition he presents a pane of fragranced glass made of sugar that hangs suspended from the ceiling by string. The glass pane is susceptible to the conditions of its environment and starts to curve, bend and eventually melt onto the floor where it continues this process of disintegration. The work incorporates the duality of glass, which divides space while altering our vision as little as possible.  The humidity and temperature that alter the glass, and ultimately our understanding of it, are even more transparent than the glass itself.