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ORNAMENT UND VERBRECHEN 8 — LAGE EGAL CURATORIAL PROJECTS #215
SEBASTIAN BURGER
JOLYON JONES
SHINOH NAM
CURATED BY LUCA M. LOLI
Opening, SAT, MAY 4, 2024, 6pm — 9pm
Exhibition dates: MAY 5 — JUNE 8, 2024
Open hours: FRI — SAT, 3pm — 6pm
Also open by appointment and by chance
LAGE EGAL CURATORIAL PROJECTSCurated by PIERRE GRANOUX
Strausberger Platz 19, 10243 Berlin
Contact: sonderlage@lage-egal.net
lucamaxloli.mc@gmail.com
We are pleased to present the eighth exhibition of ORNAMENT UND VERBRECHEN with site-specific installations, sculptures and paintings by SHINOH NAM, JOLYON JONES and SEBASTIAN BURGER.
The series of exhibitions takes place at our temporary space at Strausberger Platz 19, located within one of the historic neoclassical Hermann Henselmann towers, also known as “Haus des Kindes”. The title of this series takes inspiration from the renowned essay by architectural theorist Adolf Loos, who asserted that ornament was a sign of decadence and violence in modern society.
SHINOH NAM was born in South Korea and lives and works in Berlin. He received a Meisterschüler Diploma from Monica Bonvicini at the Universität der Künste in Berlin (2022) and previously studied Fine Art and Architecture at the Kunstakademie. Nam explores ruins and their depths already inherent in the things that desire has achieved in a structure that seems solid. Through this process, the meaning of the norm is dismantled, and the subject can resist it and question the Absurdities and Dogmas that exist in society. In particular, Nam uses the relationship between intuitive forms and fragments to induce the viewers to subjectively contemplate the architecture or structures of inner selves closely linked to the individual’s cognitive process and self-understanding.
JOLYON JONES’ sculptures are based on the dialectical tensions between opposites. Through processes of working on solid and permeable materials, Jones considers the physical limits of materials often chosen for their historic or economic uses. With “rapid loading”, concrete fabrications of furniture upholstering become objects that reflect matter often concealed behind walls. By creating multiples a relic of the former is produced, each revealing slight differentiations in the chemical signatures on their surfaces from the use of metal oxides, found within liquified earth after an earthquake. The typically load-bearing building materials, such as concrete and steel, become the supported elements, and the fragile elements exert the decisive force. By partially inverting the steel barricade, “container” interrogates the spatial confrontation between obstacle and viewer allowing bodies to breach the boundaries of the space it once contained.
SEBASTIAN BURGER walks a fine line between representative and abstract painting. The starting point for his work consists of stylized imagery, often composed in a manner akin to collage, alternating precisely executed illusionism with two-dimensional representation. His work bears the influence of the legacy of surrealism and magic realism, as well as the metaphysical painting of Giorgio de Chirico. Furthermore his various methods to negotiate visual impressions by painterly processes that deal with deconstruction of display the paintings but also sampling and abstracting relations, tackle and empower the trial of translating an individual perception and expression.
