Tempest
Michele Abeles, Alvaro Barrington, Pavel Büchler, Monster Chetwynd, Sky Hopinka, Oliver Laric
Jan. 18 until Feb. 27, 2021
Presented by Tanya Leighton and Sadie Coles HQ in Berlin

  • Monster Chetwynd
  • Oliver Laric
  • Michele Abeles
  • Alvaro Barrington
  • Sky Hopinka
  • Pavel Büchler

As part of Galleries Curate: RHE, Tanya Leighton and Sadie Coles HQ have combined elements of their programmes.

The exhibition Tempest will be on view at Tanya Leighton from January 18th until February 27th, 2021. The gallery is located at Kurfürstenstraße 25 in Berlin.

Dialogue between our two galleries has resulted in the exhibition Tempest, a group show that reflects on the ability of water to transform into different states and explores transformation as an act, a fluid and physical process, that can present change in appearance or form, and offer an opportunity for renewal.

Each of the artists in this exhibition interpret transformation on a symbolic, material or spiritual level. Oliver Laric’s videos and sculptures analyse the instability and hybridity of objects as a chance for growth, while Monster Chetwynd’s work grapples with notions of ephemerality and metamorphosis through forms of ritual and solidarity.

Sky Hopinka’s dreamlike films traverse indigenous themes of history and myth remembered in the present as a promise for the future, and the assembled imagery of Michele Abeles scrutinize the transformative nature of images and associations from both digital and analogue sources.

The sensual representation of clouds in the work of Alvaro Barrington is inspired by the suggestive state of transience between water and air, and of course by J M W Turner’s tempestuous land- scapes. Water becomes an active medium in Pavel Büchler’s paintings, which undergo a physical transformation as they cycle through a washing machine.

Bringing together works of video, painting, sculpture and installation, Tempest refracts the concept of panta rhei – everything flows – through the lens of the fluid, transient and transformative nature of both culture and water.

Water Aid will receive 10% of sales from the exhibition.

For more information about the works of Pavel Büchler, Oliver Laric, and Sky Hopinka, please contact Tanya Leighton at info@tanyaleighton.com or +49 (0)30 21972220
https://tanyaleighton.com

For more information about the works Michele Abeles, Alvaro Barrington, and Monster Chetwynd, please contact Sadie Coles HQ at info@sadiecoles.com or +44 20 7493 8611.
https://www.sadiecoles.com

All installation images
Photography: Gunter Lepkowski
Courtesy of the artists; Sadie Coles HQ, London; and Tanya Leighton, Berlin

Monster Chetwynd

At the entrance to the exhibition Monster Chetwynd’s large painted latex sculpture of an octopus is splayed out on the gallery floor.

The wallpaper which acts as backdrop to this intelligent sea creature is an enlarged xerox of Hokusai’s erotic scene The Dream of the Fisherman’s Wife, a popular nineteenth century Shunga print depicting a woman entwined in embrace with a pair of octopi.

As elsewhere in Chetwynd’s work, there is a desire for metamorphosis, to be other; in which the natural world becomes a channel for expression. Water here becomes an immersive sustaining force and mythic harbinger for imagination. 

Spartacus Chetwynd, Hokusai’s Octapai, 2004
Latex, paint, cardboard, newspaper
100.0 x 200.0 x 150.0 cm | 39 3/8 x 78 3/4 x 59 in
© Monster Chetwynd, courtesy Sadie Coles HQ, London.

Oliver Laric

Syncretic inter-species representations recur in Oliver Laric’s Untitled animated film, in which Laric re-draws found footage of humans morphing into animals from hundreds of animated films.

In a continuous loop, these shape-shifting characters blend swiftly and hypnotically to the rhythm of a contemplative orchestral score. This work is shown paired with a new 3D digitally printed sculpture, Hermanubis.

Laric’s version of this psychopomp deity, half-man and half-jackal, is recomposed in a patchwork of different materials, suggestive of a broader interest in the hybridisation and instability of matter.

Oliver Laric, Untitled, 2014-2015
4K video, colour, sound
5 min 55 sec
Edition of 5 + 2 AP
Courtesy the Artist and Tanya Leighton, Berlin

Oliver Laric, Hermanubis, 2020
Stereolithography and selective laser sintering, polyamide, polished epoxy, TuskXC2700T, aluminium base
230×54.5×73.5 cm | 90½×21½×29 in
Courtesy the Artist and Tanya Leighton, Berlin

Oliver Laric, Hermanubis, 2020
Back

Oliver Laric, Hermanubis, 2020
Detail

Michele Abeles

Michele Abeles delights in the slippage of the image, torn between its pristine digital future and a past fast decaying and discolouring.

Abeles’s Nymphaea series is based on the vacant imagery that populates waiting rooms. The banal, the cliché, and the knock-off are freely recombined with imagery from the artist’s own archive and output as seductive large format digital tapestries.

The example shown here, reviving Monet’s Water Lilies, is displayed with Abeles’s small scale collages, titled after reptiles found in the swamps of Florida, and incorporating elements such as imitation crocodile skin, fragments of mirrors, and lost cameras.

Michele Abeles, Crocodylus akutas, 2018
mixed media
72.4 x 63.5 x 7.7 cm | 28 1/2 x 25 x 3 1/8 in
© Michele Abeles, courtesy Sadie Coles HQ, London.

Michele Abeles, Micrurus fulvous, 2018
mixed media
41.9 x 52 x 7.5 cm | 16 1/2 x 20 1/2 x 3 in
© Michele Abeles, courtesy Sadie Coles HQ, London.

Michele Abeles, Nymphaea alba, 2018
archival pigment print
205 x 156 x 5.7 cm | 80 1/2 x 61 3/8 x 2 1/4 in
© Michele Abeles, courtesy Sadie Coles HQ, London.

Michele Abeles, Nymphaea tuberosa, 2018
archival pigment print
205 x 156 x 5.7 cm | 80 3/4 x 61 3/8 x 2 1/4 in
© Michele Abeles, courtesy Sadie Coles HQ, London.

Alvaro Barrington

Clouds appear, sensual and majestic, in the work of American artist Alvaro Barrington.

Inspired by the transient states between water and air and J.M.W. Turner’s tempestuous seascapes such as The Slave Ship, 1840, Barrington mediates between subjective gesture, historical allusion and his own personal biography. Intuitively recording shifting skyscapes he witnessed from his home in London and reflecting on his journey from the United States to the UK, Barrington pays homage to the Atlantic crossing of his ancestors.

Through these understated compositions, Barrington transforms everyday meteorology into biomorphic symbols, expressing the fluidity of cultural exchange and collective memory.

Alvaro Barrington, Jet Plane 1840-1967 (n), 2020
mixed media on burlap paper in artist frame
29.5 x 36.6 x 4.5 cm | 11 5⁄8 x 14 3⁄8 x 1 3⁄4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Clouds, Shoreditch 1, 2020
signed on verso
mixed media on burlap paper in artist’s frame
28.2 x 37.1 x 4.4 cm | 11 1/8 x 14 5/8 x 1 3/4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Clouds, Shoreditch 2, 2020
signed on verso
mixed media on burlap paper in artist’s frame
28.2 x 37.1 x 4.4 cm | 11 1/8 x 14 5/8 x 1 3/4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Clouds, Shoreditch 3, 2020
signed on verso
mixed media on burlap paper in artist’s frame
28.2 x 37.1 x 4.4 cm | 11 1/8 x 14 5/8 x 1 3/4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Clouds, Shoreditch 4, 2020
signed on verso
mixed media on burlap paper in artist’s frame
28.2 x 37.1 x 4.4 cm | 11 1/8 x 14 5/8 x 1 3/4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Clouds, Shoreditch 5, 2020
signed on verso
mixed media on burlap paper in artist’s frame
28.2 x 37.1 x 4.4 cm | 11 1/8 x 14 5/8 x 1 3/4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Clouds, Shoreditch 6, 2020
signed on verso
mixed media on burlap paper in artist’s frame
28.2 x 37.1 x 4.4 cm | 11 1/8 x 14 5/8 x 1 3/4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Alvaro Barrington, Jet Plane 1840-1867 (d), 2020
mixed media on burlap paper in artist’s frame
28.7 x 36.2 x 4.6 cm / 11 1⁄4 x 14 1⁄4 x 1 3⁄4 in
© Alvaro Barrington, courtesy Sadie Coles HQ, London.

Sky Hopinka

In the second gallery space, the exhibition continues with Lore, a film by Sky Hopinka, bringing forth ideas of reincarnation and cyclical return. A stream of fragmented images are assembled on an overhead projector, as a voice tells us of a not too distant past; a lore uttered in the present as a promise for the future.

“Stories of oceans in the afterlife, or the spirit world in our own... This endless mixing and reconfiguring, overlapping of images (like waves).” These motifs reappear in a series of photographs with hand-inscribed words suggestive of an introspective journey through memories and landscapes.

Sky Hopinka, Lore, 2019
16mm to HD video, stereo, color
10 minutes 16 seconds
Edition of 3 + 2 AP
Courtesy the Artist and Tanya Leighton, Berlin

Sky Hopinka, These are days longer than night, 2019
Inkjet print, etching
33×33 cm | 13×13 in
Edition of 3 + 2 AP
Courtesy the Artist and Tanya Leighton, Berlin

Sky Hopinka, This is the changer, 2019
Inkjet print, etching
33 x 33 cm | 13 x 13 in
Edition of 3 + 2 AP
Courtesy the Artist and Tanya Leighton, Berlin

Sky Hopinka, These are dense countries and empty cities, 2019
Inkjet print, etching
33 x 33 cm | 13 x 13 in
Edition of 3 + 2 AP
Courtesy the Artist and Tanya Leighton, Berlin

Sky Hopinka, The light was blue and so were you, 2019
Inkjet print, etching
33 x 33 cm | 13 x 13 in
Edition of 3 + 2 AP
Courtesy the Artist and Tanya Leighton, Berlin

Sky Hopinka, The outside being here right now, 2019
Inkjet print, etching
33 x 33 cm | 13 x 13 in
Edition of 3 + 2 AP
Courtesy the Artist and Tanya Leighton

Pavel Büchler

Water is the purifying agent in the material transformations of Pavel Büchler’s Modern Paintings series. Found at flea markets and auctions, these works have their painted surfaces removed and their canvasses put through a washing machine cycle. Patches of paint, reversed back to front, are then re-assembled in the manner of ‘crazy paving’ or abstract mosaics.

Pavel Büchler, The Sky and the Sea, 1996
Reclaimed paint on canvas
52×81 cm | 20½×32 in
Courtesy the Artist and Tanya Leighton, Berlin

Pavel Büchler, The Sky and the Sea, 1996
Detail

Pavel Büchler, Modern Paintings no. A26, (green, purple, blue and grey abstract, Manchester, April 1999)
Reclaimed paint on Canvas
126×117 cm | 49½×46¼ in
Courtesy the Artist and Tanya Leighton, Berlin

Pavel Büchler, Modern Paintings no. A26, (green, purple, blue and grey abstract, Manchester, April 1999)
Detail

Pavel Büchler, Modern Paintings no. A26, (green, purple, blue and grey abstract, Manchester, April 1999)
Detail

Pavel Büchler, Modern Paintings No. A44 (townscape with floating blocks, Manchester, August 2007), 1997-2007
Reclaimed paint on canvas
101×61 cm | 393⁄4×241⁄4 in
Courtesy the Artist and Tanya Leighton, Berlin

Pavel Büchler, Modern Paintings No. A37 (fragment of grey, blue, orange, red and white geometric abstract “Malaise”, Manchester, July 2000)
Reclaimed paint on canvas
37 x 44 cm | 14 1/2 x 17 1/4 in
Courtesy the Artist and Tanya Leighton, Berlin

Pavel Büchler, Modern Paintings No. A25 (orange swirl, Manchester, April 1999), 1997-2007
Reclaimed paint on canvas
117×117 cm | 46¼×46¼ in
Courtesy the Artist and Tanya Leighton, Berlin

Pavel Büchler, Modern Paintings no. A31 (Cartoon characters on brown ground, Manchester, April 1999)
Reclaimed paint on canvas
69.5×114 cm | 27¼×45 in
Courtesy the Artist and Tanya Leighton, Berlin

Pavel Büchler, Modern Paintings, 1999-2000
Under Destruction, Installation view
Photo: Bettina Matthiessen © 2010 Museum Tinguely, Basel