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VeNsKe & sPÄNLe
1971 (Julia venske) 1969 (gregor spänle) born in germany
lives and works in new york and Munich, germany
The work of Venske & spänle employs the pure colorless material of marble. The forms are often created
with a specific site and it’ s installation in mind. The primary objective being the transfomation of marble’ s
cold hardness into a vital, sensual and inviting materiality. Inanimate forms imparted with some sense of inner
life; giving each stone a palpably apperent soul. entering the main gallery space, the viewer is confronted with
what appears to be an unfinished construction. A raw box structure encloses a room whose entry is not readily
apparent. The interior of this box stands in sharp contrast to it’s exterior. This is the salon. The salon presents
a blank emptiness upon first inspection. The viewer is faced with a situation of absolute colorlessness. This
blank pure whiteness unfolds in time to reveal both depth and form. The purity of the space offers uncluttered
observation in a total absense of visual pollution.
The rounded forms of the screens are familiar, comfortable and inviting. Their depth is indeterminate.
They appear to absorb light and have edges that very nearly glow. The crystalline structures of the marble
reflects the light from the within. Their finely sanded surfaces trap the incoming light inthese very same chrys-
tals. The calm of the salon calls to mind a sacred space. In sharp contrast to this one finds the space full of
screen forms. The same screens one is forced to look at in the everyday world of computer and video monitors.
The pure calm of the stone screens stand in opposition to the fast paced banality of the everyday monitor
screen.
Above and away from the droplets, one finds the Ticks. The Ticks hide secretivly in the gallery space. They
suck onto the walls like parasites. Their forms speak of unending greedy consumption. They seem to be at a
point of rupturing open. The potential for their bodies to rupture promises to make for yet more droplets. Inclu-
ded in the exhibition is a triptych of photos. The images are dominated by a sense of blank emptiness. Vapid
and dumb, they neither offer anything, nor make any judgement of what they record. The photos have been
printed onto acrylic which acts as yet another screen for a projected image. While giving us a calm reflection of
the world; the triptych also presents the same dull superficial imagery of the electronic monitor.
(KeVIn FInKLeA)
sMUrFs, 2003 MArBle
COOlING UNIT, 2003 MetAl, Polyester
BOx, 2001 instAllAtionvieW MuseuM sivori Buenos Aires
dIsTrIBUTOr, 2002 MArBle, Pvc
sMUrF, 2003 MArBle
38 ARTaddiction
