Framework, 2016 | Courtesy Buchmann Galerie Berlin
The starting point for Bettina Pousttchi’s ceramics were photographs of patterned, blackened oak beams from historic half-timbered houses that the artist transformed into ceramic modules. The modules are arranged on the wall in ornamental patterns to create a spatial dynamism. In a conversation with the artist for her recent book “The City,” Chris Dercon noted: “You go much further, I think, reflecting on ornament not only as a form of life, but also as a form of animation.” The wall friezes combine the language of European architecture with that of the Middle East. These interlacing perspectives are based on a transnational vision, which is central to the artist’s oeuvre. Simultaneously taking place with the gallery show, on June 9th, both the Hirshhorn Museum and the Phillips Collection in Washington DC will open solo shows of Bettina Pousttchi’s work.
Buchmann Box features early works by Daniel Buren from 1966 and 1969 – the key years in which the artist reached his “degree zero of painting.” These years mark the start of his in-situ artworks, which he created all over the world employing his signature 8.7-cm-wide vertical stripes. The repetitive use of Buren’s stripes eliminates any form of representation. The image only references itself. Buren places these “pictures” on the ground like objects, thus adding to their self-referentiality, and appropriating the space in which they are shown.