Exhibitions

Marcel Tyroller / Fred Sandback

July 4 - September 6, 2009

Ausstellungsansicht / installation view Kunstverein
Installationsansicht / installation view KunstvereinInstallationansicht / installation view Kunstverein

On the ground floor of the Kunstverein, two minimalist artists meet, Marcel Tyroller (*1971, lives in Munich) and Fred Sandback (1943-2003), who explore space through the deliberate use of transient materials. Their sculptures function as architectural commentaries describing a fragile “coming to be” rather than a fixed “being.”

The machine Cord 2 by the Munich artist Marcel Tyroller throws a loop of red thread against the walls of the exhibition space. It slaps against the white walls, runs down them, returns to the machine only to repeat the perpetual, irregular figure determined by spatial conditions, accompanied by the sonorous humming of the machine. Uniformity is challenged by movement. Perception of the work and the space by the viewer is translated into an unstable experience defying any definatory form of cognition. Not least through the noise of the motor, a rhythmic spatial image arises that unites visual appreciation, bodily experience of space, and hearing in a perpetual cycle.

In his choice of material and reduced form, Marcel Tyroller recalls the American artist Fred Sandback, who is among the most important protagonists of Minimal Art. Sandback used threads of various colours, a material which appealed to him not least because of the slightly shimmering, visually difficult to grasp nature of the fibres, to create sculptures with no body or clear definition that relate to a specific spatial situation. This is demonstrated by the 1987 work Untitled (Seven-part Vertical Construction). The lines of yellow, red, blue, and black woollen thread stretched between ceiling and floor intervene only minimally in space. The sculpture adds no mass to space, rather emphasising the lack of interior, rendering emptiness a physical experience.

Marcel Tyroller translates the reposing emptiness of Sandback's abstract works into a contemporary, mechanistically mobile concept of minimalist sculpture, at the same time transcending its bounds to adopt a painterly gesture that in the 1970s had been excluded precisely in the context of Minimal Art. The line of the thread, that takes on every unevenness of the wall, every peculiarity of the space as it finds its way, traces a constantly changing mural in contrast to the straightness of Sandback's threads.