About
Like the years before, Galerie koal presents a curated exhibition during the summer. Starting from July 6th until the end of September, The Mind and the Mood, an exhibition project by swiss curater and friend Samuel Gross, will be on display. Gross invited artist Emilie Ding (1981) from Geneva, who currently lives in Berlin and whose work he knows and has observes for many years. On occasion of the exhibition, Emilie Ding collaborated with French designer Clémence Seilles (1984).
For The Mind and the Mood, Emilie Ding and Clémence Seilles developed several objects that come together to form a temporary installation in the middle of the exhibition space. After this arrangement was set the curator chose pieces of art by gallery artists Stefania Batoeva, Steve Bishop, Daniel Biesold, Dennis Feddersen, Martin Flemming, Ingo Mittelstaedt, Arne Schreiber, Katinka Pilscheur and Olarn Chiaravanont to complement the encountered situation. The show's title, The Mind and the Mood, reflects this process as a conjuncture of the planned and thought-out with chance and spontaneity. In addition, the audio piece by artist Hannah Weinberger, Geneva 2012, presents an acoustic and imaginary portrait of the Swiss born artist Mara Rinike-Radich and therefore constitutes another artist friendship contributing to the exhibition.
The friendly relationships of the participants are reflected within the exhibition through a dialogical concept that can be generally characterized by its openness. The process the possibility to collaborate, communicate and react to each other plays an equally important part as the result. In this respect, the exhibition will change over its course with varying installations and therefore enable again and again new dialogs between the different artistic positions.
The objects conceived by Ding and Seilles derive from basic geometric forms, allude with their proportions to pieces of furniture like tables, benches or chairs and can also be used as such. But they cannot be defined completely as they are also functioning as pedestals and platforms for other art works within the context of the exhibition. Off-the-shelf building supplies, such as concrete and compressed wood, function as materials for these objects. Loosely stacked on top of each other or joined by cast concrete they resemble assemblages, whose single elements remain distinguishable at all time. With their heterogeneous nature between sculpture, piece of furniture or part of the exhibition design, they also refer to the backgrounds of their creators, who understand this collaboration as an explicit crossover of art and design. At the same time, the ambiguity can be read as a comment on conventional exhibition practices. In this respect, the objects by Ding and Seilles relate to the open principle of the exhibition by remaining uncertain in their status and function and being able to be used in different ways.
