PUMHOS – DVIR

Galleries — Sat, 30 Nov 2024 13:58:58 +0000

Florian Pumhösl’s latest body of works consists of marks, straight or curved lines and dots of varying sizes, on smooth panels of cast plaster. The marks are of reddish ocher, and on closer inspection, one
can see that they are hand-engraved on the plaster. The carving of these lines is fragile, their compositions precise. However, these lines are not smooth. When viewed up-close, one notices rough
edges of these finely etched lines, indicating the inherently forceful nature of the act of cutting into a physical surface. The incisions cluster and disperse, they are springy. Yet, one can sense the orientation
of these marks is horizontal, from left to right, and suggests temporal progression. They imply an affinity with musical scores.
Each of these plaster pieces is based on a red chalk drawing on paper. And these drawings indeed departed from graphic scores by composer Roman Haubenstock-Ramati (1919–1994). He was an
influential figure in Vienna in the 1970s and 80s and his works were associated with musique concrète, and was notable for introducing ideas from visual art. “Departed from”, and not “based on”, as Pumhösl
took visual elements from the scores and subjected them to an intense process of drawing, that is rearranging, breaking apart, reassembling, compressing and expanding them. A set of drawings was
selected from this group, which became the basis for the etched plasters. The works are relatively small, the largest piece in the group only measuring 39 cm by 25 cm, meaning that the plaster pieces maintain the intimacy of the drawings’ scale. As pictures made not through addition of material, but through subtraction of matter from surface, they offer an unusual experience of depth.
By definition, scores are not the final product, but an instruction for generating that product in the form of music. Graphic scores, though they require musicians to have special training to read them, are no
different. They are a guide for creating temporal acoustic experiences, made manifest by musicians.
What happens if a non-musician uses graphic scores as directions? He then proceeded to answer this question by “rehearsing” the scores of Haubenstock-Ramati, using drawing, the medium he is most
adept at wielding. One can see how the density of composition modulates from piece to piece. They do not make what directs the concentration or sparseness of marks explicit, but one can easily sense that
there is an internal logic that guides how each picture is organized, comparable to how music progresses.
Much like the same composition could never be played in exactly the same way even by the most accomplished musician, the marks applied by hand could never be perfectly repeated.
Abstraction saw numerous attempts at such decoupling of form and content. Dadaist mechanical drawings for example, where no engineering purposes were assigned to seemingly technical drawings.
These were instructions without objectives, technological plans with no aim. Similarly, works of Pumhösl carry the traces of their sources. One can see how the density of composition modulates from
piece to piece. They do not make what directs the concentration or sparseness of marks explicit, but one can easily sense that there is an internal logic that guides how each picture is organized, echoing
how the score progresses.
Yuki Higashin

Galerie Dvir – Paris 3

Galleries — Wed, 01 Feb 2023 14:49:35 +0000

Dvir Gallery was founded in 1982 by Dvir Intrator to introduce cutting-edge contemporary Israeli artists. In 1994, the gallery broadened its representation to include international artists such as Miroslaw Balka, Marianne Berenhaut, Douglas Gordon, Latifa Echakhch and Lawrence Weiner in its program. In 2013, Dvir Gallery combined its three separate spaces into a five-story building, the first of its kind in Tel Aviv.

In 2016, the gallery opened its first gateway to Europe with a branch in Brussels, which strengthen and developed the existing relationship with the international artistic community.

In 2022, on the occasion of its 40^th anniversary, the gallery opened a space in Paris, in the heart of the historical Marais District, emphasizing the special ties and connection the gallery has had, since its beginnings, with the French cultural milieu, collaborating with artists, institutions and private collections.
Artists represented : Adel Abdessemed, Nelly Agassi, Miroslaw Balka,, Marianne Berenhaut, Jennifer Bornstein, Yossi Breger, Orna Bromberg, Mircea Cantor ,Lisetta Carmi, Latifa Echakhch ,Omer Fast, Adi Fluman, Simon Fujiwara, Douglas Gordon, Dor Guez, Thomas Hirschhorn, Shai-Lee Horodi, Sigalit , Yudith Levin, David Maljkovic, Matan Mittwoch, Jonathan Monk, Vered Nachmani, Moshe Ninio, Melik Ohanian, Sarah Ortmeyer, Florian Pumhösl, Barak Ravitz, Ariel Schlesinger, Netally Schlosser, Miri Segal, Nedko Solakov, Naama Tsabar, Lawrence Weiner, Bri Williams, Pavel Wolberg

Galleries in Paris » Florian Pumhösl

PUMHOS – DVIR

Galerie Dvir – Paris 3