Inaki Bonillas (Mexico), Francisca Garcia (Chili), Lina Kim (Brasil), Changwon Lee (South-Korea), Mario Navarro (Chili), Paula Parcerisa (Paraguay), Rapedius & Rindfleisch (Germany), Sebastian Zarius (Germany)

'R2' shows art works which relate to photography or the idea of the photographical.

Inaki Bonillas (Mexico City, Mexico, 1981) deals with photography in a particular way. His work does not always consists of photographies, but of photography related practices. In the realm of the conceptual art of the 60's and 70's Bonillas' work (and his frequent cooperations with other artists) question and analyse photography as a medium and a mode of representation, dissects the history and the technique of photographic practices. In Hamburg he shows a work dealing with one and the same image/photograph developed in different photolabs. Francisca Garcia (Santiago de Chili, Chili, 1969) makes among others use of photographs of landscapes in combination with scale models. Her work always marks the balance between the real and the fake. Filmic references and a latent narrative character are omnipresent in her work. Francisca Garcia stages nature, reality and art. Francisca Garcia created for 'R2' the video 'Catastrophe' (5 minutes) dealing with artificial (model) landscapes undergoing meteorological disaster. The Brasilian artist Lina Kim (Rio de Janeiro, Brasil, 1963) is mainly known for her large scale installations. Her material vocabulary often consists of mirrors, chandeliers, straight jackets, crystals as well as the color white. White is representing purity, unendlessness, virginity, blankness and agressivity. 'Para voce' is a number of letters the artist wrote to friends or relatives. The work presents itself as white sheets of paper where one can only see traces of the act of writing. The title of each works shows the personal individual character of the whiteness. The work of Changwong Lee (Seoul, South-Corea, 1971) finds itself on the complex axe between painting and photography. Iconographically the artist mainly deals with (self)portraits and stillives. The artist does question though acts of representation and the process of perception. Each work consists of a number of long vertical small wooden planks on which part of the perceived image is pasted. The perceived image only appears through a process of reflections and optical laws. Preoccupations of Op-Art and Kinetic Art being transferred into a contemporary disourse on painting and photography. The installations, drawings, actions, situations, performances of Mario Navarro (Santiago de Chili, Chili, 1971) find since the beginning of his artistic carreer a common denominator under the title 'The New Ideal Line'. This 'vehicle' permits the artist to be constantly conscious about the cultural and political contradictions of the state of Chili where he is living in. 'Sad Punk' is a video (animation) of a figure walking through the forest. The deep red saturated images and the soundtrack of 'the Pixies' turn this video into an apocalyptical and melancholic reflection. In December 2002 Paula Parcerisa (Asuncion, Paraguay, 1968) conducted the urban intervention-performance 'Re-visao' in the city of Fortaleza (Brasil) on the occasion of the first Bienal Ceara America. The action consisted of going around with a mirror in the city (which is geographically situated along the Atlantic). As the city is urbanistically detached from the ocean, the artist symbolically tries to catch with the mirror the sea in order to bring it back in the city. 'R2' shows a series of photographs which document the action, but which can be considered at the same time as an autonomuous work on the social reality of Brasil. Martina Rapedius (Oldenburg, 1974) and Thomas Rindfleisch (Hannover, 1975) always work together as an artist duo in the projects they develop. The works are mostly in situ installations involving a participation and engagement of the spectator. Their installations often makes use of sound and the idea of architecture. Next to an object (0,2 l, 2003) the artists show a number of photo-related collages. Sebastian Zarius (Duesseldorf, 1968) recycles plastic bags in order to use them as basic material for his compositions/ paintings. Fragments from plastic bags are selected following their formal qualities and integrated in pictural compositions. Single plastic parts are framed as slides, which on their turn are part of a bigger composition. For this exhibition Sebastian Zarius articulates a site-specific installation in the villa's orangerie.

Further Information:
Philippe Van Cauteren
Gaußstraße 152, Haus 3
22765 Hamburg
T/F: 0049 (0)40 39903369
E: vancauteren@t-online.de