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«Drop City Düsseldorf at Lierenfelder Str. 39» is a living and working environment which intends to traverse different rhythms of showing and engaging with art. Interspersed between life and work commitments and appearing on an occasional basis, the programme will set works against an accumulative backdrop of permanent installations, living and working situations and an evolving personal collection of chosen objects and artworks, each accordingly providing a different temporal experience, intensity and interaction.

The programme will stimulate conversation around concepts of hospitality and how we live today: Lierenfelder Str. 39 is a base: a place to return to, reflect and reorient - a support structure for the onward journey. Lierenfelder Str. 39 is also a home, a place for manifesting one’s relation to others through hospitality. The globalised world offers us increased opportunity through networked mobility and flexible or remote working patterns, however this situation is primarily supported through an acceptance of a precarious existence and life-work balance. Now more than ever we are aware of the distances between friends and the necessity to touch base both with those that we love and meet through the mobility afforded through artistic working. The intimate network of peers spread and dispersed across different cities, regions and countries, accumulated during prolonged and ongoing periods of transition is becoming the foundation for a new kind of artistic programming - one built more from relationships and friendships between like-minded people from localised parts of the globe rather than from a particular thematic enquiry. Lierenfelder Str. 39 will foster and galvanise these encounters by providing an intimate and meaningful space for both living and working.

The programme builds upon «Drop City, Düsseldorf at Hotel Ufer» — In 2016 a programme of artist made objects, exhibitions, installations and performances took place throughout the private/public spaces of Hotel Ufer on Gartenstrasse. Invited by hotelier René Tilgier, «Drop City, Düsseldorf at Hotel Ufer» explored the key resource for hospitality: the sharing of space. The programme brought together artists from the city and abroad and experimented with key prevalent principles around exhibition making, duration and site-specificity. Exhibitions expanded out across multiple guest-rooms, communal areas, cities and crossed national borders and included works focussing on the temporality of the hotel experience ranging from handmade plates by Katie Schwab for the daily breakfast buffet, bathrobes by Sophie Macpherson and a permanent attic suite for hotel guests by hobbypopMUSEUM.

The announcement of each event at «Drop City, Düsseldorf» will be made with a limited-run postcard depicting a different 'fantastic flower' by Matthias Lahme.

Drop City, Düsseldorf at Lierenfelder Strasse 39 is easily reachable by public transport (U75: stop Lierenfelder Btf) and has free parking.

WARMING UP

22 July – 2 September 2017

 

Drop City, Düsseldorf
at Petra Rinck Galerie

Preview / Vernissage 21 July 19—22uhr

Magdalena Kita, Sophie Macpherson, Eleanor Wright

images

Magdalena Kita, 'Californication Towels'. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16

Sophie Macpherson, 'Leopard cape, yellow'; 'Leopard cape, pink'; 'Truck cape'. Hanging garment, sewn from towels , all 2017. 'Jazmina and her friend window shopping', colour video with sound, 24’35”, 2017. Image: Mareike Tocha

Sophie Macpherson, 'Leopard cape, yellow'; 'Leopard cape, pink'; 'Truck cape'. Hanging garment, sewn from towels , all 2017. Image: Mareike Tocha

Sophie Macpherson, 'Truck cape'. Hanging garment, sewn from towels , all 2017. Magdalena Kita, 'Californication Towels'. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16. Image: Mareike Tocha

Magdalena Kita, 'Californication Towels'. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16

Eleanor Wright, 'On Some Motifs (paravant)', 2017; 'Gradual Stiffening (Rea)', 2016-17. Magdalena Kita, 'Californication Towels', 2015-16. Image: Mareike Tocha

Eleanor Wright, 'Gradual Stiffening (Rea)', 2017, digital slide-show, plywood.

Eleanor Wright, 'Gradual Stiffening (Rea)', 2017, digital slide-show, plywood.

Eleanor Wright, 'Gradual Stiffening (Rea)', 2017, digital slide-show, plywood. Detail

Eleanor Wright, 'On Some Motifs (paravant)', 2017 maple wood, brass, 180cm x 60cm x 210cm. Magdalena Kita, Californication Towels. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16. Image: Mareike Tocha

Magdalena Kita, 'Californication Towels'. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16

Magdalena Kita, 'Californication Towels'. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16

Sophie Macpherson, Jazmina and her friend window shopping. colour video with sound, 24’35”, 2017. Magdalena Kita, Californication Towels. Hand-painted double sided terry-cloth beach towels, 180 x 90 cm, 2015-16

Sophie Macpherson, 'Jazmina and her friend window shopping'. colour video with sound, 24’35”, 2017. Detail / video still

information

For Drop City’s collaboration with Petra Rinck Galerie the ‘summer show’ is imagined as a space for social, sexual and political agency and takes place in advance of a new and occasional programme presented by the physically and ideologically itinerant gallery model Drop City. After the summer – and in parallel to a temporary, autonomous programme «Drop City, Antwerp» within M HKA Museum of Contemporary Art Antwerp – «Drop City, Düsseldorf at Lierenfelder Str. 39» will present the first in a series of artworks, events and exhibitions in its new space: three commissioned curtains by the artists Magdalena Kita, Sophie Macpherson and Eleanor Wright. 

The exhibition at Petra Rinck Galerie looks to establish a shared ground between the three artists who have been brought together through Drop City’s collaborative structure and approach to programming, where artists and collaborators are invited based on friendship and existing relationships by each of the four founders as a way of expanding dialogues around artistic research and making visible shared networks.

A group of works have been gathered for «Warming up» where visual vocabularies range from human interactions with material and living practices to intimate self-imaging. Sculptural forms and displays make reference to physical decoration and collective action, while films and images are read as diaristic, improvised or quasi-documentary accounts of narratives of material and objects’ relations to the body, and to public and private spaces. The exhibition is invoked as a space of things to come and of things that have been, both potential and actual. For instance, photographic slides from an in-production intermedia installation by Eleanor Wright describe a personal and partial response to the seemingly forgotten home and work spaces of a reclusive Athenian structural engineer, Sophie Macpherson’s video and accompanying text reflects on her ongoing thoughts and research around the transformational possibility of clothing alongside an awareness of the precarious living conditions for an unsettled majority of people, whilst Magdalena Kita’s beach towels comprise painted impressions of the artist’s body and images of her acquaintances in ambiguous moments before, during or after both private and shared erotic encounters. Works by all three artists represent distinct approaches to making but display definite shared concerns apropos the body and its interaction with material and living practices. While a performative action puts to use Kita’s towels during the opening reception – throughout the gallery and surrounding streets –  both Wright’s and Macpherson’s sculptural objects remain suggestive of a bodily proximity. Feminist sexual legacies and activism are explored as well as gentrification, living conditions and societal histories. The exhibition provides a partial map of the areas in which all three artists are working – with the space between studio, home and public space an unstable zone.

Drop City is a collaborative gallery model, established in 2014 and working between the cities of Newcastle upon Tyne, UK and Düsseldorf, Germany. In 2016 a programme of artist made objects, exhibitions, installations and performances took place throughout the private/public spaces of Hotel Ufer on Gartenstrasse. Invited by hotelier René Tilgier, «Drop City, Düsseldorf at Hotel Ufer» explored the key resource for hospitality: the sharing of space. The programme brought together artists from the city and abroad and experimented with key prevalent principles around exhibition making, duration and site-specificity. Exhibitions expanded out across multiple guest-rooms, communal areas, cities and crossed national borders and included works focussing on the temporality of the hotel experience ranging from handmade plates by Katie Schwab for the daily breakfast buffet, bathrobes by Sophie Macpherson and a permanent attic suite for hotel guests by hobbypopMUSEUM.

The upcoming programme,«Drop City Düsseldorf at Lierenfelder Str. 39» is a living and working environment which intends to traverse different rhythms of showing and engaging with art. Interspersed between life and work commitments and appearing on an occasional basis, the programme will set works against an accumulative backdrop of permanent installations, living and working situations and an evolving personal collection of chosen objects and artworks, each accordingly providing a different temporal experience, intensity and interaction.

The invitation to Kita, Macpherson and Wright to each create a curtain was conceived as a site-specific response to the new Düsseldorf location of Drop City – a live/work space which is home to Drop City co-founders artist Eleanor Wright and exhibition maker and Designer Sam Watson within in a light-industry property at Lierenfelder Strasse 39. The curtains will be shown in their own right whilst also used to create a physical framework for the public programme. The curtains serve to frame the other pieces on display and things that the inhabitants live and work with daily, playing on a long-standing assumption that décor is only ever an accessory. Lierenfelder Strasse 39 is not an exhibition space as such but, rather, plays host to numerous events and occurrences that typify both Drop City’s and Wright & Watson’s social approach to the production and presentation of art.

artists

Magdalena Kita, b.1983 Debica, Poland, lives and works in Cologne. During her studies at the Kunstakademie Düsseldorf, Kita co-founded the Congress: a semi-fictional international female organisation. Originally conceived as a platform of exchanges reserved for women, it evolved into a live artwork with fluid boundaries. After the devolution of Congress in 2012, Kita defines herself as a painter, but works within a similarly open framework where the created object is equal to its own context and formulated narrative. Her recent project Californication consists of a series of beach towels, as well as performances, actions and a series of subversive television commercials. The motifs on the beach towels are for the most part sexually explicit and serve as, among other things, by all means humorous traps or Trojan horses for the (male) viewer.

Sophie Macpherson, b. 1972 Aylesbury, England, lives and works in Berlin and Glasgow. She regularly collaborates with other artists, musicians and performers. A current activity is a weekly class exploring movement and language. in 2016 her works Towelling Garments were installed in multiple hotel rooms during «Drop City, Düsseldorf at Hotel Ufer» and her video, A Series of Movements was shown at «Drop City, Newcastle at 20 South Street» in 2015. Other recent projects and exhibitions include: news and booze, with Clare Stephenson, a live event as part of ‘Generation – 25 Years of Contemporary Art in Scotland’, Tramway, Glasgow (2014); Costume – Written Clothing, Tramway, Glasgow (2013); The Irregular Correct – New Art from Glasgow, Fremantle Art Centre (2012); Studio 58: Woman Artists in Glasgow Since WW2, The Mackintosh Gallery, Glasgow (2012); Shoplifters, Shopgirls/Ornament and Boredom with Clare Stephenson, Tramway (2011) / ICA London (2012);  Her Noise: Feminisms and the Sonic, Tate Modern, London (2011).

Eleanor Wright, b.1984 London, England, lives and works in Düsseldorf. A central topic in Wright’s work is the exploration of architecture and the question as to what architecture can be; in relation to the body, and its role in the materialising of culture. As such, Wright’s work not only references architecture but also design and textiles. Working with a multitude of references from architecture, design, and the culture materialised around us in society – it is the innovative form and function that a found pattern, system, material or design takes in the city or society which interests Wright. Whether to do with their naming or how they function among/between people in their display, wright’s sculptures, fabric designs and installations stage a reconfiguration of histories, surfaces and iconographies. Recent exhibitions and projects include Choreography, Arcade, London (2017); Premio Opening Award with Drop City, ARCO Madrid (2017); Catcher Pressure Pusher, Berwick Film & Media Arts Festival / International Print Biennale / TUSK, UK (2016); Arena, British School of Archeology, Athens (2016); Drop City Centre, Laing Art Gallery, Newcastle (2016); So, Mauve, Vienna (2015); Graphics Interchange Format, Focal Point Gallery, Southend on Sea (2015); Foam, NGCA, Sunderland (2015); Continuous Material, Durham Castle Museum (2015); Tuned Cities, BALTIC Centre for Contemporary Art, Gateshead (2013); Thin Cities, Yarat Contemporary Art Space, Baku (2013).

 

 

Drop City, Düsseldorf
at
Petra Rinck Galerie

Birkenstraße 45
40233 Düsseldorf
Germany

http://www.petrarinckgalerie.de/

Opening Hours / Öffnungszeiten
Di-Fr 13-18 h / Sa 11-16 h
and by apppointment

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