annex 14 BLUE SKIES BECOMING ALMOST BLACK Petra Koehle Nicolas Vermot-Petit-Outhenin 29.8. - 10.10.2015 Opening 28.8.2015, 6pm Music Performances with Tobias von Glenck, contrabass, 28.8. and 2.10. 7pm annex14 Raum für aktuelle Kunst Hardstrasse 245 CH-8005 Zürich T +41 (0)44 202 44 22 / info@annex14.com www.annex14.com Öffnungszeiten: Mi-Fr 12-18h, Sa 12-16h, oder nach Vereinbarung
Petra Koehle - Nicolas Vermot-Petit-Outhenin Green in Blue, 2015 Score for a contrabass, C-print on Dibond Installation view annex14
Petra Koehle - Nicolas Vermot-Petit-Outhenin Green in Blue, 2015 Score for a contrabass, C-print on Dibond Installation view annex14
Petra Koehle - Nicolas Vermot-Petit-Outhenin Green in Blue, 2015 Score for a contrabass, C-print on Dibond 3 panels, ca. 120 x 138 cm
Horace-Bénédict de Saussure First scheme of a cyanometer with 16 shades of blue for the mensuration of the intensity of the sky s colouration (Collection Musée d histoire des sciences, Geneva) Petra Koehle - Nicolas Vermot-Petit-Outhenin Blue Skies Becoming almost Black, 2015 Lithograph on paper 41 x 29.5 cm, unframed Ed. 20 + 5 AP Horace-Bénédict de Saussure Second scheme of the cyanometer from 1788 with 52 shades of blue (Collection Musée d histoire des sciences, Geneva)
Music performance Tobias von Glenck, Contrabass 28.8.2015
Petra Koehle Nicolas Vermot-Petit-Outhenin BLUE SKIES BECOMING ALMOST BLACK 29.8. 10.10.2015 Opening: Fr. 28.8.2015, 6pm Music Performances with Tobias von Glenck, 28.8. and 2.10., 7pm The first exhibition of works by Petra Köhle (*1977) and Nicolas Vermot-Petit-Outhenin (*1977) at annex14 involves a superimposition and interpenetration of installation- like assemblages, musical performance and work-in-progress. Or to put it another way: different media and working methods appear as equals. These become transformed, transcribed, in an open process, leaving behind permanent and temporary visible and audible traces. As in earlier works, here too, in Green in Blue, so the title it is possible to recognise several constantly recurring themes that are indicative of the artistic interests of Petra Köhle and Nicolas Vermot Petit-Outhenin. For example, the impact of representation systems on our memory, perception and imagination, and in the same context, the significance of the media, above all of photography. As is frequently the case, the research undertaken by these artists was triggered by a found item : the cyanometer which de Saussure invented in the late 18th century and with which he attempted to quantify the different colour intensities of the sky. The resulting painted colour circle, with its chromatic sequence from darkest night-blue to milky white, is not only fascinating aesthetically, but also in its scientific aspiration to systematise and survey the intangible. This is precisely where the artist duo begin with their further considerations. What happens when these blue shades, painted in pigment colours, are optically measured and transferred to the medium of photography? What happens when the scaled shades of blue are used as a musical notation system? More precisely: what happens when the song Blue in Green from Miles Davis album Kind of Blue is visualised as a colour score and individual photo-panels then stand for specific sounds, moods or rhythms? How do we perceive visualised music and played music? This opens up the field of synesthetic perception, which also greatly preoccupied the German Romantics, as protagonists of an epoch of change whose ideal aspiration was to regard the scientific measurement and poetic exploration of the world as one. Ultimately, the zeitgeist opted for another direction. This artist duo now use the tensions and clashes generated by different concepts of knowing and perceiving in an artistic way. Tobias von Glenck, bass player and composer of classical, jazz and pop music, will improvise on the colour-panel score during the exhibition opening. Later his recorded free improvisation will be transformed into a score, exhibited at the gallery and played again at a later date (2.10.2015, 7 pm). The colour blue, therefore, pervades the exhibition like a leitmotif, crossing different systems, transforming itself into sound, photography, improvisation, text, score. Shifts and breaks are made visible or audible and simultaneously provide unanticipated scope for play and freedom in the realm between knowledge and sensation, concept and experience. Elisabeth Gerber
Petra Koehle /Nicolas Vermot-Petit-Outhenin Petra Koehle, *1977, CH 2012 PhD Programm, Linz University of the Arts / Zurich University of the Arts 2008-10 Master of Arts in Fine Arts, Zurich Univeristy of the Arts 2009 Central Saint Martins College of Art and Design, London 2005-06 Studies in Theory, Zurich Univeristy of the Arts 2002 Assistance stage setting + costume design, Theater an der Winkelwiese, Zh 2001-04 Associate director, Theater an der Sihl, Department of Performing Art and Film, Zurich University of the Arts 2099-03 Studies of Photography, Zurich Univeristy of the Arts Nicolas Vermot-Petit-Outhenin, *1977 2012 PhD Programm, Linz University of the Arts / Zurich University of the Arts 2008-10 Master of Arts in Fine Arts, Zurich Univeristy of the Arts 2001-06 Studies of Photography, Zurich Univeristy of the Arts 2004 Universidad del Cine, Buenos Aires 2000-01 Internship, Gallery Schedler, Zurich 1995-99 Apprenticeship as Photographer Solo shows 2015 annex14, Zurich Réunion, Artspace, Zurich 2014 It must be regarded as a forgery unless it is proven to be genuine, Nidwaldner Museum, Stans 2013 It depends entirely upon the hue of the lighting, Galerie de Roussan, Paris 2012 Kunst-Luftschutz-Massnahme, Palais de Tokyo, Paris 2011 ohne Titel (Stilleben), Vebikus, Schaffhausen 2009 The Nature of Beauty, Lokal-int, Biel / Bienne La pièce sacrée, Diachronic Group Exhibition #4, Apppart, Locarno 2008 Albert s Guesthouse,Kunstbunker Hintereingang, Nuremberg La Pièce Sacrée, les complices, Zurich 2007 Albert s Guesthouse,Galerie Madonna/Fust, Berne Anche se non posso focalizzarti sei nel mio sguardo, Kunsthaus Glarus Can you now return to from where you came,double-show with Peter Dew, exex, St.Gallen Awards / Residencies (selection) 2013 CNAP, Paris 2010 Art Award, Zurich 2009 Residency Cité international des Arts Paris 2008 Book Award Ministry of Culture, Switzerland 2008 Art Award, UBS Culture Foundation 2007 Residency Swiss Institute of Rome 2006 Art Award, Canton Zurich 2005 Project Award, Zurich 2004 Kiefer Hablitzel Award RecentGroup shows (selection) 2015 Swiss Arts Awards, Basel 2014 Giants. Souvenirs, Academy of Arts, Vilnius Chasseur harmonieux, j emprisonne mes rêves. Galerie de Roussan, Paris Docking Station,Aargauer Kunsthaus, Aarau Telling Tales,CentrePasquArt, Biel / KUMU, Tallinn, Estonia / National Gallery of Art, Vilnius, Lithuania 2013 Alors, ils se mirent à parler du temps,galerie de Roussan, Paris pro positions,nar Gallery, Biel/Bienne It is all in the detail,kunsthaus Baselland, Basle Creative Assemblages When aesthetics meet the economy or what do they have in Common?, Siemens Sanat, Istanbul 2012 Vitrine # 2,die Diele, Zurich In Absent Places We Dwell,Piano Nobile, Geneva2 Wisdom of Shadow: Art in the Era of Corrupted Information, 4th Sinop Biennial, Turkey Archives - Un unventaire sans fin, Goethe Institut, Paris Making History, Museum für Moderne Kunst, Frankfurt 2011 Môtiers 2011 Art en plein air,môtiers Swiss Art Awards,Basle Dump Time. Für eine Praxis des Horizontalen,Shedhalle, Zurich Zwischenlager - Ankäufe der Stadt Zürich 06-10,Helmhaus, Zurich 2010 Die Anatomie der Bilder,Satdtgalerie, Berne Werk- und Atelierstipendien der Stadt Zürich,Helmhaus, Zurich Back Yard, Galerie Lucy Mackintosh, Lausanne Paarkunst,Galerie Luciano Fasciati, Chur Recent Screenings / Performances / Presentations (selection) 2014 Fink Twice, Albert s Guesthouse, Buchpräsentation, oor, Zurich It depends entirely upon the hue of lighting,kumu, Tallinn It depends entirely upon the hue of lighting, National Art Gallery, Vilnius Lecture simultanée, Academy of Arts, Vilnius 2013 You owe me a book, PS1, New York The Difference That Makes a Difference the Pattern that Connects, Kunsthof, Zurich On Critical Toursim, Site-specific and Post-romantic Condition, Nida Art Colony, Lithuania Leftist? You don t need to be a leftist to think like this, Kunsthof, Zurich There where I should have been yesterday. I am here today. / Lecture Simultanee, MOK, Rotterdam 2012 Schlagwörter und Sprachgewalten, Kunsthaus, Baselland Conversation with Silvia Maglioni et Graeme Thomson, Le Foyer, Zurich In Growing up Amid the Historical Mysteries of Proximity: Pros & Cons of Being Neighbours, ITS-Z1, Belgrade 2011 Lecture simultanée : Simultan-Lesung, Cité int. des Arts, Paris KIJK papers, Warte für Kunst, Kassel