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Dienstag, 10. Dezember 2019

It is getting alive



Philipp Gufler: IT IS GETTING ALIVE


Eröffnung Freitag 10.1.20120, 18–21 Uhr
Ausstellung 11.1. – 29.2.2020


BQ
WeydingerstraSSe 10
1018 Berlin
Di– Sa 11–18 Uhr


On Thursday February 27, 2020 at 7 pm Philipp Guflers new artist book Quilt #01 – #30 will be presented at BQ. The book is published by Hammann Von Mier Verlag, Munich.







Foto: Roman März, Berlin

Dienstag, 8. Januar 2019

King Louis II




29. January - 16. March 2019

Thursday, 28.02.2019, 8–10 pm
Film Screening
„Ritual of Farewell“, 2011
„Projektion auf die Krise (Gauweilereien in München)", 2014
„Becoming-Rabe“, 2016
by Philipp Gufler


Dramatis Personae
Ludwig II: the last Bavarian King; heavily in debt
Prince Paul: Ludwig’s aide-de-camp, and lover
Rabe Perplexum: an artist; wearing feathers
Peter Gauweiler: an angry, fearful man
Ben d'Armagnac: an artist; standing inside a large glass box
David: a statue, who has no lines; is only fallen in love with
Louis: a cat

Setting
A neighborhood bar, a quiet place you eventually forget the name of, as your first visit recedes in your memory, indistinguishable from the hundreds of times you've returned, drank, and drank to forget more than just the name of the bar. Lined with floor-to-ceiling mirrors in ornate gilt frames, the tight space doesn't let you stray far from your own image. As you walk behind the row of bar stools with their patrons, there you are in the glass, looking over your own shoulder. Sometimes there are film screenings in the basement, the only time that the familiar scene is interrupted, when the regulars are again reminded of the name of the place: "Is this Reflections?" the newcomers ask as they enter the doorway, their skeptical expressions doubled in the mirror. Before anyone answers (and no one ever does) you've already entered, as if you've always known that this was the place. There's no sign on the front, but you can always find Reflections if you really need to.

The stage is empty except for Ludwig the King. He lingers over a glass, perhaps designing another extravagant castle in his imagination, or working out the details of his still unfinished Herrenchiemsee Palace. After bankrupting the royal purse and the monarchy tout court, he was declared insane and deposed by his ministers. Now an emigré living in a little German enclave in Chicago, he goes by Louis, but most of the regulars at the bar call him Lou. No wonder he recognizes himself more in the face of the cat, with whom he shares the feeling of being somehow irreconcilably different from his fellow drinkers, than in the reflection in the mirror.

Across the surface of these mirrors gauzy images transpire. Something familiar is queerly figured, a spectral face blending with our own. A bit like magic, we see other lives which rendered ours visible, and through our life something of theirs appears. In this little bar we see a distant transfer of Louis XIV’s Hall of Mirrors at Versailles, or Ludwig II's copy of it at Herrenchiemsee. The light of the sun reflected off the moon shimmering at the bottom of a glass; a Louis, a Ludwig, a Lou. Don’t think of it as a decline, but a transference of desires no less urgent or refined. Perhaps this bar is just as much a fantasy as the castle of Linderhof. Reflections is a real place, but you've never been there; I used to go there, but now I can't remember.

Becket Flannery, 2019


QBBQ's
Rosa-Luxemburg-Str. 15
10178 Berlin
Tue - Sat 12 - 18 h







Fotos: Roman März 

Freitag, 19. Januar 2018

Why are my friends such finks



06 Feb – 14 Apr 2018
BQ, Weydingerstraße 10, 10178 Berlin

Mittwoch, 7. Juni 2017

INDIREKTE BERÜHRUNG / INDIRECT CONTACT




Indirekte Berührung / Indirect Contact

2017
80 EURO
30,4 x 19,5 cm

40 pages, silkscreen print on foil, spiral bound
100 copies in English, 100 copies in German, numbered


Publisher: BQ
Editor: Adrian Djukic
Print: Philipp Gufler and Grafisch Atelier Hilversum
Binding machines: GBC
Foils and binding supplies: GBC
KINDLY SUPPORTED BY GBC

https://gbceurope.com

Order here: 
info (at) bqberlin.de, BQ Berlin

Available at:
Buchhandlung Walther König im Haus der Kunst, Prinzenstraße 1, Munich
BQ, Weydingerstraße 10, Berlin
Galerie Françoise Heitsch, Amalienstraße 15, Munich
San Serriffe, Sint Annenstraat 30, Amsterdam, NL
San Serriffe II, Rozenstraat 56, Amsterdam, NL
Boekie Woekie, Berenstraat 16, Amsterdam, NL

Montag, 27. Februar 2017

Romankreisen



Philipp Gufler "Romankreisen"

Opening: Friday 24.3.2017
20 H: Reading by Fantasma and Philipp Gufler from his book “Indirekte Berührung”
Exhibition: 25.3. - 15.4.2017


"The whole novel touches its own page bottom and turns to the next page" Hubert Fichte on his literary project "Die Geschichte der Empfindlichkeit"  

The title of Philipp Gufler’s first show at BQ borrows a term from the German novelist and ethnographer Hubert Fichte (1935 – 1986). Fichte associated this literal translation from Greek with the concept of a circular novel, which in its course returns to the point of departure. In his show, Gufler adapts Fichte’s thought as the conceptual idea of an abstract, orbital movement to reflect on exemplary themes, methods and forms that feature in his body of work. The artist book Indirekte Berührung / Indirect Contact forms the central piece of the exhibition and relates its elements in the form of a logbook. The installation includes mirrors that have been transformed with transparent colour pigments as well as layered fabrics with varying prints. These quilts are hung in the space and also constitute a separate space within the gallery. The last element is an acrylic glass showcase onto which the documentation of a previous performance is projected.

Making use of screen-printing on blue and pink plastic film with spiral binding (a technique which features prominently in his works), Gufler’s prose also takes a shape in which enables its haptic qualities to be experienced. Within these pieces, the reader encounters different characters, some of whom have inspired and influenced Gufler’s artistic production for a long time. They all position themselves on a fictional time scale, stretching from 1597 – the year in which the early baroque painter Caravaggio supposedly started work on his Narcissus – up to 2075 – the future year in which the performance een gebeueren, enacted in 1975 by the Dutch artist Ben d’Armagnac (1940 – 1978), will see its 100th anniversary. Besides locating these two artistic positions that are of personal relevance for Gufler, the years also serve as markers for a wide spectrum of reference points in his works that are often based on artistic research. All major characters – researchers, writers and artists alike – share a fundamentally critical attitude towards the norms of their time, putting into question cultural, political and sexual identity.

Indirect Touch allows historic figures and contemporaries of Gufler to meet outside the boundaries of chronological order. Gufler gives them an indirect voice in the form of appropriated fragments (which cannot be identified as citations in all cases). However, he does not merely cite or reproduce these characters but rather condenses the attitudes associated with or expressed by them. In the process of indirect writing, Gufler repeatedly seems to merge with his characters. The persona that links all 21 chapters is Jäcki, based on the gay flaneur and writer-protagonist from Hubert Fichte’s novel Palette (1968). Like Fichte, Gufler makes use of the character Jäcki as screen as well as ambivalent Doppelgänger (who never fully becomes the alter ego). The character Jäcki becomes a medium for repeated autobiographical passages that may be subtly woven into the text but may also dominate whole chapters.

Gufler’s literary and artistic self-assessments are indirect yet at the same time true to the principle ‘Put your self in quotation marks – call yourself a novel ’. The Fichte quote from Versuch über die Pubertät (1974), parts of which Gufler previously used in an exhibition title, illustrates a decidedly self-critical distance towards an up-close autobiographical approach. That same principle also governs Gufler’s installations and performances. His approaches to a choice of characters from a long tradition of emancipatory history are marked by the artistic pursuit of deeper involvement in regards to emotions and content. Gufler temporarily merges with his subjects of study and, in doing so, self-referentially reveals a fundamental difference between those subjects and himself.
Philipp Fürnkäs


BQ
Weydingerstraße 10
10178 Berlin


Philipp Gufler, Romankreisen, 2017
Silkscreen on fabric, 4-parts
208,5 x 216 x 216 cm


Een gebeuren, 2016
Video: 28:33 min., acrylic glass box, fly maggots, books, scraper, blades, key, lamp, projector, speakers, media player
Acrylic glass box: 99,7 x 204,8 x 89 cm, projektion variable

Reading by Fantasma and Philipp Gufler from his book Indirekte Berührung
during the opening

Philipp Gufler, Indirekte Berührung, 2017
Silkscreen on foil, spiral bound, 30,4 x 19,5 cm
Edition 100 (German), Edition 100 (English

Photo: Roman März, Berlin
Courtesy BQ, Berlin