Warhol remains as a chinese winter garden in my heart (self-portrait), 2006, Terence Koh via ArtNews

The Schirn Kunsthalle Frankfurt presents two simultaneous solo exhibitions by Bavarian artist Michael Sailstorfer and Chinese-Canadian artist Terence Koh. Both Sailstorfer’s “10 000 Stones” and Koh’s “Captain Buddha” make use of ready-mades and found objects to present their own artistic statement. Each artist’s installation work comments on his surroundings, though in different ways.

The Art Newpaper [The Art Newspaper]
Current Exhibitions [Schirn Kunsthalle Frankfurt]
Terence Koh and Michael Sailstorfer at Schirn Kunsthalle Frankfurt [Artipedia]
Michael Sailstorfer: Tire with popcorn [Art Magazine]
Terence Koh [ArtNews]

“Captain Buddha,” an allusion to both Buddhism and Moby Dick, is the result of Terence Koh’s search for himself and a journey to fifteen places worldwide – Canada, Japan, China, Thailand, Mexico, Germany, Switzerland, Sweden, Israel, Iceland, Belgium, Italy, Spain, Africa, and the USA. The show ­consists of 15 white-coated bronze objects such as a hand, strings, buckets, a toilet, a dead bird and a flag in a white brightly-lit room. There will be a secret performance, meant to bring the objects to life. Koh’s search for nirvana ends much like Captain Ahab’s: “I try to find the White Whale in these white objects, yet come upon nothingness in the end.”

‘Zeit ist keine Autobahn’ (Time is no highway), Michael Sailstrofer via The Art Newspaper

Michael Sailstorfer’s works present everyday objects from our lives in new contexts. He is concerned with physical transformations of the items, as well as conceptual. His installations take into account the specific spaces they inhabit, along with any extraneous objects. The sights, sounds and smells of Sailstrofer’s exhibit elicit responses about the history and identity of those objects in relation the human’s role. ‘1 zu 43 bis 47’ (1 to 43 to 47) features popcorn overflowing from the machine, the title, a statement of expansion, “refers to the size ratio of the surface of a kernel of corn to a popped kernel, which with its folds, recesses, projections and curves represents the infinite variety of becoming.” ‘Zeit ist keine Autobahn’ (Time is no highway) assaults the ears and the nose while a tire burns rubber against the gallery wall, leaving only a pile of dust. Sailstrofer has created a new piece, “Untitled (Junger Römer)” (“Untitled (Young Roman)”), for the Schirn.

‘1 zu 43 bis 47′ (1 to 43 to 47), Michael Sailstrofer via Saatchi Online

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