Issuu on Google+

GLENN GEFFKEN


„Dagegen herrscht sichtbar und unsichtbar »der auf der Oberfläche geltende Urbanismus der Verzweiflung«, der sich nicht besser kennzeichnen lässt als mit einem Satz von Gilles Ivain (Ivan Chtchegloff): »Allen Städten haftet etwas Geologisches an, und bei jedem Schritt begegnet man bewaffneten Gespenstern (…). Wir bewegen uns in einer geschlossenen Landschaft, deren Markierungen uns ständig zur Vergangenheit hinziehen.«“ Biene Baumeister/Zwi Negator: Situationistische Revolutionstheorie. Eine Aneignung. Schmetterling Verlag, Stuttgart 200, S.240


Glenn Geffken ( *1982 in Bremen), Absolvent der Hochschule für Bildende Künste Hamburg (HfBK), wirft in seinen Holz- und Leinwandkonstruktionen Fragen nach dem Verhältnis von Collage als Bildraum und ihrer erweiterten Betrachtung als Objekt auf. Geffken spielt mit den Grenzen sichtbarer Räume und ihrer Betretbarkeit in der Vorstellung. Das führt die BetrachterInnen zu den Gestaltungsmöglichkeiten persönlicher Konstruktionsschemata von Weltwahrnehmung zurück. pressemitteilung der mhh-kestnerschau 1| 2010


P. K. Dick / each 120 x 120 cm / 2008 / oil-paint on fibreboard


P. K. Dick / each 120 x 120 cm / 2008 / oil-paint on fibreboard / installation-view


F.P.S. / 90 x 90 cm / 2010 / collage on fibre board


4th chamber 110 x 70 cm / 2010 / paper-collage+ ink on fibre board


F.P.S. PT. ii / 90 x 90 x 90 cm / 2010 / paper-collage+INK on fibreboard


rusher / 90 x 90 cm / 2010 / Paper-collage+ink on fibreboard


pinky ring / 110 x 70 cm / 2010 / paper-collage+ink on fibreboard


broke / 90 x 90 cm / 2010 / paper-collage+ink on fibreboard


KAHAINSVIER Diploma, Academy for fine Arts Hamburg Hamburg 2010


kahainsvier / Paper-collages+ink, iron nails, fibreboard / 2010 / installation-view


kahainsvier / Paper-collages+ink, iron nails, fibreboard / 2010 / detail


kahainsvier / Paper-collages+ink, iron nails, fibreboard / 2010 / detail


kahainsvier / Paper-collages+ink, iron nails, fibreboard / 2010 / detail


shrapnel / paper-collage on fibreboard / 2009 /


map exercise / ink-jet-Print on cardboard / each 21 x 14.5 cm / 2010


map exercise / ink-jet-Print on cardboard / each 21 x 14.5 cm / 2010


incidendtal damages - A various collection of incidentally damaged goods / 21 x 29.5 cm / 2011 / MAgazine Color-print / 40 Pages


hypnopomp i -a collection of notes on the Mental phenomena that occurs during the „threshold consciousness“ phase including lucid dreaming, hallucinations, out of body experiences and sleep paralysis / 2012 / Magazine b+W-Print / 32 PAGES


Kabinett I & II Kunstverein Wilhelmshöhe, Ettlingen 2009

Glenn Geffken`s installation “Kabinett I and Kabinett II” seem to dissect the walls of ” Karlsruher Kunstverein” with fine incisions. Actually , the wall is pierced at one side and the wire which indicates the incisions passes through this hole and comes out at the other side. Taking pattern from the aesthete of materials in the “Minimal – Arts of the `60s, the installation reminds of John Cage`s musical score to “Music Walk” or “4`33”. Also, the seven metal strings mounted on the wall suggest a similarity with music instruments, like the strings of a piano. Just like as if, the strings can bring the wall to vibrate, giving it a certain permeability. Geffken`s installation indicates temporality, with a hint of fragility and transitoriness that emanates the room, which the stoned walls seem to negate. In this way, a glimmering contrast appears and a motion between the poles begins to vibrate. This vibration, after some considerations, questions the reality of the room. Can it be , that, all that surrounds us, are only products of our perception? “Kabinett I and Kabinet II” let the room disintegrate and give the viewer imagined possibilities back which the reality otherwise denies. [Oliver Bulas]


kabinett I + Kabinett ii / iron nails, drilling, copperwires / 2009 / installation-view detail


kabinett I + Kabinett ii / iron nails, drilling, copperwires / 2009 / installation-view detail


kabinett I + Kabinett ii / iron nails, drilling, copperwires / 2009 / installation-view


kabinett I + Kabinett ii / iron nails, drilling, copperwires / 2009 / installation-view


BLOWY HORIZON Berlin, 2011 work in progress

Blowy Horizon is a collection of various images/documents, which were collected during the working process with Glenn Geffken. The main aim of the collaboration act, was to create art together in form of a dialogue, focusing on forms of representation and abstraction of visual objects. Inspired by Aby Warburgs ‘Bildatlas’, it is intended to develop a new system of order in the working process of the dialogue. [Nadim Assad]

The images appear to the viewer as a symbol. But what do they symbolize? Coordinates, surfaces and rooms describing a reference point, are essentials to determine a certain position. Where all objects appear before a horizon, ever present, but still remains an un-

reachable destination, entangled in a structure, integrated in a milieu or involved in a sequence‌. While disregarding the limits of its attributes, the symbol becomes the reveleation. The images revolve around two reference points while limiting the possibilities to escape. [Glenn Geffken]


blowy horizon / magazin color-print / 21 x 14.5 cm / 2012 / 32 pages


BLOWY HORIZON Projektion: HD, 16:9, 25:02 min (Loop) mirror ( 90 x 140 cm) / 2011 / installation-view


BLOWY HORIZON / Projektion: HD, 16:9, 25:02 min (Loop) mirror ( 90 x 140 cm) / 2011 / installation-view


CV

1982

born in Bremen, Germany

2003 - 2010 University of FIne Arts, Hamburg Prof. A. Tippel, P. Stadtb채umer & Dr. H. Loreck. lives and works in Berlin

Contact Glenn Geffken Suarezstr. 7 14057 Berlin

post@glenn-geffken.com www.glenn-geffken.com


portfolio