StudioGmelin & The Blah, Blah, Blah Gallery
Drawing, Installation, Painting, Participatory practices, Performance, Photography, Sculpture, Sound, Text based, Video, Print making
Atelier: Frittstående Atelier / Independent studio
Tilgjengelig for rullestol: Nei
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Felix Gmelin (f. i Heidelberg, Tyskland 1962) bor og arbeider siden 2014 i Trondheim. Han studerte ved Kungliga Konsthögskolan i Stockholm 1983 – 1988, hvor han mottok en BA og MFA i maleri. 1992 -2007 underviste han ved Konstfack University College of Arts, Crafts and Design i Stockholm. For tiden er han professor i Maleri og etter ved Trondheim Kunstakademi / NTNU. 2014-2018 underviste han ved Kunstakademiet i Oslo / KHiO.
Separatutstillinger inkluderer PORTIKUS, Frankfurt a.M.; Malmö Kunstmuseum, Gasworks, London, Fotogalleriet, Oslo, ONO Gallery, Oslo, Röda Sten Art Centre, Gøteborg, og Station Centre for Contemporary Art i Pristina, Kosovo, Galerie Nordenhake, Stockholm, Milliken Gallery, Stockholm, Annet Gelink Gallery, Amsterdam, Vilma Gold, London og maccarone inc., New York, inkludert solopresentasjoner på Premier | Art | Basel and Frieze Art Fair, London.
Gruppeutstillinger inkluderer den 50. Venezia-biennalen kuratert av Francesco Bonami og Daniel Birnbaum; den 52. Venezia-biennalen kuratert av Robert Storr; berlinbiennale 4 kuratert av Maurizio Cattelan, Massimiliano Gioni og Ali Subotnick og Trondheim Kunstmuseum kuratert av Randi Thommessen og Johan Börjesson.
I 2010 ble Gmelin tildelt Carnegie Art Awards tredje pris (420 403 kr) “for et verk som er en nesten arkeologisk utforskning av de sosiale og politiske konsekvensene av maleriets taktilitet og ekspressivitet. Et sentralt tema i tidlig performancekunst, Gmelin vender tilbake til dette handlingsfeltet i et komplekst verk som revurderer den maleriske “berøringen” ved å gå gjennom media av film, maleri og trykte stillbilder.
Felix Gmelin (b. in Heidelberg, Germany 1962) lives and works in Trondheim. He studied at Kungl. Konsthögskolan (the Royal Institute of Art) in Stockholm 1983 – 1988, were he received a BA and MFA in painting. 1992 -2007 he was teaching at Konstfack University College of Arts, Crafts and Design. Currently he serves as professor in Painting and Beyond at Trondheim Academy of Fine art / NTNU. 2014-2018 he was teaching at the Olso Academy of Fine Art / KHiO
Solo shows include PORTIKUS, Frankfurt a.M; Malmö Konstmuseum, Gasworks, London, Fotogalleriet, Oslo, ONO Gallery Oslo, Röda Sten Art Centre, Gothenburg, and Stacion Center for Contemporary Art in Pristina, Kosovo, Galerie Nordenhake, Stockholm, Milliken Gallery, Stockholm, Annet Gelink Gallery, Amsterdam, Vilma Gold, London and maccarone inc., New York, including solo presentations at Premier | Art | Basel and Frieze Art Fair, London.
Group shows include the 50th Venice Biennale curated by Francesco Bonami and Daniel Birnbaum; the 52nd Venice Biennale curated by Robert Storr; the berlin biennial 4 curated by Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick and Trondheim Kunstmuseum curated by Randi Thommessen and Johan Börjesson.
In 2010 Gmelin was awarded the Carnegie Art Award third prize (42 132 €) ”for a work that is an almost archaeological exploration of the social and political ramifications of the tactility and expressiveness of painting. A key topic in early performance art, Gmelin returns to this field of action in a complex work that reconsiders the painterly “touch” by passing through the media of film, painting and printed stills.”
hvordan havnet vi her?, ACT NOW, PICK A SIDE, I CAN’T BREATHE, MAKE ORWELL FICTION AGAIN, don’t assume I can cook, pregnancy is barbaric, WHAT’S YOUR PLAN? WHERE DO YOU STAND WITH YOUR ART, COLLEAGUE? TOUT VA BIEN, OUR HOUSE IS ON FIRE, CHANGE IS COMING, I WISH THIS WERE FAKE NEWS, WHITE SUPREMACY IS NOT THE SHARK IT IS THE WATER, pieklo kobiet trwa, All Cops Are Beautiful, WE’RE NOT DONE YET, THIS IS RIDICULOUS, Music is System Relevant, SAVE YOUR OWN ASS, Kanye West for President!, PODEMOS CAMBIAR LAHISTORIA, Art is useful. Through art we can start building a world that works differently.
Excerpt from a letter to Sinziana Ravini, editor of the Swedish Art Magazine Paletten, Feb 2021:
All of my work right now is focused on shaping something that directly or indirectly relates to the pandemic and the society we now live in, and the madness you are describing.
We live in a historical time that is completely unique and share this experience together “all over” globally, right? We are all the wave, as the German immunologist Christian Drosten describes it.
Never before have so many new words, concepts and expressions been created as in 2020, say the linguists. New experiences. New conclusions? I followed this instinctively in my pandemic isolation where I was completely absorbed by these new expressions since the pandemic became a reality for me and for all of us. New experiences that are big game-changers we are happening right now and we have to deal with: BLM, #metoo, Greta Thunberg, QAnon, Pizza-gate, the end of democracy? Large shifts in power. And the pandemic = the isolation happens on our body physically via digital media, right? It has consequences for our everyday life locally that we also all share together globally. Paradoxical. Frustrating. We are writing history now you and I, and we all, whether we want to or not.
What I think now, is that today it is enough to just look at the world and document it to be able to make interesting art. We just have to dare to look! This is entirely in accordance with the program Charles Baudelaire once proposed to the Impressionists in his essay “The Painter of Modern Life” from 1863. Reality has become so strange that it is enough to document it right now, no?
This was a privilege long reserved for artists who have experienced trauma in regions with political conflicts. Now we suddenly all start together from a trauma we all share, big and small. Is that not strange? A game-changer this pandemia is! Everything needs to be rethought. The climate crisis including and also Capitalism as well as Patriarchy and the Culture of Identity? Every single experience around this becomes important. Every parameter. What you write in the Magazine Paletten now becomes historical Sinziana! Everything has concrete consequences for all of us for real. Art suddenly has a social responsibility. If it / we want to take this responsibility, it becomes “system-relevant”, i.e. necessary for the society we live in. Everything Must Cange after Covid-19 !, as Slavoj Žižek says in a new book.
For me as an artist interested in history, it is fascinating to be a part of describing the historical events we are currently experiencing. We are all the wave, the whole sea is storming and we are all sitting in the same boat. Act Now or Swim Later!
Welcome to see some first results of this ongoing research at StudioGmelin & The Blah, Blah, Blah Gallery located in: Rosenborg gate 22, 7043 Trondheim. We call it: “The emergency has replaced the contemporary”, presenting works and other visible things not necessarily ment to be viewed as art by: Olav Westphalen, Felix Gmelin, Helga Hussels and Paul McCarthy.