Felix Schramm at Grimm Rosenfeld in Miami


New York Grimm|Rosenfeld showed a spectacular site-specific installation by Felix Schramm in their booth at NADA in Miami. These two images document what he had done with one wall of the three walls [the projecting materials in the second image are much smaller than the wall seen in the first]. The gallery's current show in New York is devoted to this Düsseldorf-based artist. I haven't yet made it to West 25th Street, where Schramm has apparently transformed the entire space, including the floor and ceiling, but now it's a must.

As a huge fan of big chances taken by both these arts, I love it when art and architecture mix it up together. If we can't mate them with the tools available to us in the 20th century, we really should be ashamed of ourselves. New York please take note.

From the gallery press release:

Much of the formal inspiration for Schramm's work comes from public and institutional architecture. By breaking apart archetypal versions of these spaces, as well as the specific locations in which he creates his installations, Schramm exposes a multiplicity of tensions in experience: between architectonic shapes and the negative space created by them, between new, builder's-grade materials and the used and found materials that he sometimes employs, between construction and destruction, meditation and violence, the impulse to build and the inertia of gravity. Although his interventions are very carefully composed, the roughness of the materials, the jarring angles and the uncomfortable spatial incursions often seem to be the result of some terrible disaster, as if the room had opened up just long enough to accept some falling wreckage--only to close again.


I've seen the exhibition at the gallery in New York and had the pleasure of sharing Thanksgiving with Felix. (We discussed Frank Stella. Weird.) Alas, I was unable to go to Miami. In general, I liked the show at Grimm | Rosenfeld, but, in particular, I was disturbed by -- what I perceived as -- his depoliticized quotation of Gordon Matta-Clark. I was unable to find purpose in his installation. I could locate a kind of masculine angst, but felt the gesture to be about making a cleaner version - a hollowing-out of the radical nature in G.M-C's work. It was a repetition - anti-gallery practice folds in on itself to reveal simple formalism. Maybe this explains steering our Turkey Day conversation towards Frank S.

I wanted to photograph that piece myself but, the lighting made it difficult. So did the space itself. That was one of the memorable pieces there.