LAGE EGAL [STAND B04] — ART DÜSSELDORF 2024

LAGE EGAL CURATORIAL PROJECTS #214 — ART DÜSSELDORF 2024 [STAND B04]

NADINE FECHT
BEN GREBER
FRANZISKA REINBOTHE
PIETRO SANGUINETI

ART DÜSSELDORF 2024
Preview THU, APR 11, noon—4pm
+ Opening, 4pm—8pm

Day 1, FRI, APR 12, noon — 7pm
Day 2, SAT, APR 13, 11am — 7pm
Day 3, SUN, APR 14, 12am — 6pm

AREAL BÖHLER
Hansaallee 321, 40549 Düsseldorf

Contact: Pierre Granoux
+49 173 1807226 • sonderlage@lage-egal.net

For our debut showcase in Düsseldorf, we celebrate the rich legacy of PIETRO SANGUINETI (1963—2023) with a wide-ranging selection spanning his career. Concurently, we explore the themes of seriality and text with NADINE FECHT, reproduccibility and archiving with BEN GREBER and the traditional attributes of painting challenged by FRANZISKA REINBOTHE.

While historical conceptual art aimed to convert images into language, the work of PIETRO SANGUINETI reverses this process, once again transforming language into images. Sanguineti’s sculptural word-objects, or word-sculptures, digitally crafted and meticulously produced, defy the ‘conceptual’ label with their hyperbolic physicality. Their sensual “shaped canvases” result from technical production, featuring preexisting forms like letters, signs, logos, and words, which are laden with various meanings and interpretations.

NADINE FECHT’s exploration of value concepts is epitomised in “surplus” (on-going since 2013). Arranged in a grid, price tags of cheap goods become a symbolic representation of the flow of goods and the struggle to transcend it. Each tag symbolizes an individual with inherent value, navigating the market’s network logic for exchange.

The sculptures of BEN GREBER evoke the essence of everyday objects while transcending their original form, becoming autonomous works of art. Using materials like cardboard and epoxy resin, Greber captures the evolving environment, reflecting human impact on utilitarian landscapes through his mastery of form.

The work of FRANZISKA REINBOTHE defy tradition, merging painting with sculptural techniques. Through stretching, folding, breaking, cutting, and sewing, she embraces destruction as a catalyst for creation, driven by curiosity and impulsiveness. Coincidences and accidents are embraced as integral to her artistic process.

INSTALLATION IMAGES © BEN GREBER

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