Bernd Krauss at Galerie
Giti Nourbakhsch, Berlin
Beautiful Decay Magazine
December
15, 2008
Just
making art is rarely what qualifies one as an artist; often, to live life
artistically is a far better measure. In this respect, there is a lot that can
be said about the work of Bernd Krau�. In his most recent exhibition at Galerie Giti Nourbakhsch in Berlin, Krau� presents a number of his
sprawling detritus-built installations alongside a litany of other objects -
wall-hanging tapestries, impromptu collages, and other miscellaneous strewn
bits and ends. These curious found and handmade items hybridize the aesthetic
of domesticity with that contemporary art, making them ripe for discussing
material use and artistic process.
Krau�' "Seven Shops A
Week" (2008) is the work in the exhibition that epitomizes the artist's
practice. Built from gridded metal displays, a ragged rug, white tiles, and
other various shelving brackets, the piece looks like the leavings of a erratic
fl�neur - an unpredictable
shopper's wunderkammer. At the bottom, placed in the center, is a quorum of
Africanesque tchotchkes. And, perched at the top is a plastic owl that doubles
as a security camera. The bird of prey provides a live feed of the viewers and
sculptures across the space to the gray television below. The video feed
literalizes what is key to Krau�' work, each piece's interaction with its counterparts and the space as
whole. Since, even with a list of the exhibition's objects, looking at each
piece as a finite entity seems faulty given Krau�' process.
In �Bibliothek� (2007), five rounded and
slotted slabs of wooden form an abstract and and barely functional magazine
rack. While the structure comes up high enough to be a lectern, it's only at
the bottom that a lump of folded and tattered magazines are cradled. Set on a
plinth of slim books and a fabric cushion, the apparatus is tethered to the
wall by a series of chained objects. Including a straw circle, a few bracelets,
and a wooden ladder likely owned by a parakeet, the makeshift chain cuts across
the space and keeps the bibliothek from moving too far from two wooden bars
that hold it.
In
the glaring light of industrially produced monolithic art and a rising sea of
work that revolves around narcissistic folklore, seeing a practice whose core
is a thread woven through daily life is welcome retreat. However, does the work
extend beyond being art showcasing Krau�' quirky lifestyle? If so, Krau� regularly finds himself with his back against this wall. Since the
discourse of reuniting art with life is irrelevant to such an integrated
practice, the work presents itself on the aesthetic plane alone. Most works
exceed an expectation for the mundane, they show the artist's acute, albeit
sometimes tawdry aesthetic sensibility and have the finesse that could only
come from Krau� being such a clever collagist and inventive sculptor. What redeems each
work from being labelled as just idiosyncratic tinkering, is that they have
heart. With a grimacing sentimentality, Krau� is able to express a sense of
joy and pleasure in creating art. Not beholden to making concrete meaning or
crafting critical messages, the works are the ends of an intuitive and
ultimately self-made styles and forms. They demonstrate how Krau� continues to not just make
art, but live artistically.
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