Nora Kapfer at Édouard Montassut / Paris

Nora Kapfer
Recent Paitings

March 27 - June 19, 2021

Édouard Montassut
61 rue du Faubourg-Poissonnière
Paris, France
Nora Kapfer at Édouard Montassut. Exhibition view.
Nora Kapfer at Édouard Montassut. Exhibition view.
Nora Kapfer
Untitled (Oleander I), 2021
Oil, bitumen and Japanese paper on wood
65 x 54 cm (25 5/8 x 21 1/4 in)
Nora Kapfer at Édouard Montassut. Exhibition view.
Nora Kapfer
Cut Pansies, 2021
Oil, bitumen and Japanese paper on wood
150 x 144 cm (59 1/8 x 56 3/4 in)
Nora Kapfer at Édouard Montassut. Exhibition view.
Nora Kapfer at Édouard Montassut. Exhibition view.
Nora Kapfer
Old Sol, 2021
Oil, bitumen and Japanese paper on linen
150 x 145 cm (59 1/8 x 57 1/8 in)
Nora Kapfer
Untitled (Oleander II), 2021
Oil, bitumen and Japanese paper on wood
81.5 x 84.5 cm (32 1/8 x 33 1/4 in)
Nora Kapfer at Édouard Montassut. Exhibition view.
Nora Kapfer
Untitled, 2021
Oil, bitumen and Japanese paper on wood
50 x 39.5 cm (19 3/4 x 15 1/2 in)

All images courtesy and copyright of the artist and gallery. Photos by Gina Folly.

Whites in Nora Kapfer’s paintings look organic. Calcareous, like the soft whites of remains. Mutable as they may be, the paintings don’t fetishize death or corporeality. They function rather like histories and matrixes composed of disparate actants, sedimented and buried atop each other, generative and reactive. They’re dialectic in a sort of counter-Hegel fashion, like the concept of the Marquis de Sade sprinkling fresh petals onto slurry from a window of his gaol. Flowers, breasts, detached grids suggest an overcoding of all the decoded parts, an always already not as foregone conclusion but as compulsive continuity. Like the nude in the art of the Renaissance having already felt like Pop and technically queer in its day long before industrial image massification and ensuing liquefaction through the digital, processes tracked and further denatured in Kapfer’s bituminized surfaces. What made the former asphalt jungle, seeping through in these works? The idea is said to first have taken shape in the 1920s, roughly contemporaneous with the innovatory style of especially female artists’ photographic image-making, then termed Neues Sehen (New Vision). The latter captured the self refracted through its surrounding conurbation’s bodies, machines and stuff in a light and from angles viewed as novel, wrong and free. Kapfer’s paintings are warped the way we don’t know yet for certain the kind of naturexculture we’ll be looking back on. (Daniel Horn)

Nora Kapfer (b. 1984, Germany) lives and works in Berlin. Recent solo exhibitions include: Come a Time, Galerie Lars Friedrich, Berlin, 2020 ; Half a zip.Half a paw, Nousmoules, Vienna, 2018 ; Love’s Labour Lost, Loggia, Munich, 2017. Recent group-exhibitions include: A Home is not a House, FriArt Kunsthalle, Fribourg, 2019 ; Sunvault, Studiolo, Roma, 2019 ; Gertrude, Loggia, Munich, 2019 ; Whistle and I’ll come for you, Galerie der Stadt Schwaz, 2018 ; Celluloid Brush, Etablissement d’en face, Brussels, 2018.

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