ANDREAS BURGER | SPAGHETTI & BURGER

LOOM GALLERY

VIA MARSALA, 7 20121 MILANO IT
+39 02 8706 4323
ASK@LOOMGALLERY.COM
WWW.LOOMGALLERY.COM

OPENING EXHIBITION HOURS
Wednesday, 14 Nocember, 7 - 9pm
14 November - 30 December 2018
Tuesday / Saturday, 12 - 7 pm or by appointment

Three years and a half after its “Opening” exhibition, the first ever for Loom Gallery, Andreas Burger expresses himself again using processes that lead to decomposition and subtraction of matter. As al- ways, his research is based on the balance between full and empty, on the occupied space and that to be occupied, proposing a customized exhibition that speaks about volume.
Andreas Burger is an eclectic and unique artist that cannot be reduced to a specific topic or material. His work, both as a sculptor and as a conceptual artist, covers a wide range of different techniques by which he examines aspects of daily life, culture history and art market, as well as is inspired from the above to conduct visual searches, used to generate new forms and images.
The works in the exhibition “The Oracle of spaghetti (self-fulfilling prophecy)” are works on paper made using 42 spaghetti-s (like the columns of the Apollo temple in Delphi) which, immersed in black acrylic and left to be falling on the sheets as in the mikado game, mark a track of their position in space.
There are three plaster casts that define the artist’s physical boundaries in “The measurements of the artist”: “Form 1” is installed on the wall 189 cm above the ground and shows the artist’s height at his 51st birthday. If in the coming years, because of ageing, the artist is rescaled, a gap will be created be- tween him and the object (creating a space between the two of them). “Form 2” is hanging at a height of 167 cm and indicates the lower edge of the artist’s chin. Again the link between object and artist will change over the years.
“Form 3” was created for the elbow, so as to rest from time to time to a comfortable height that varies between 153 and 157 cm, in relation to its physical form.
“Objects behind Monochrome” are works derived from the void, from containers of objects that have moved between time and space and that have often made long journeys, from production sites to those of sales. The cement makes absence stable and visible.
The “Agenda” is ultimately the sculpture of contacts no longer usable, of a space for useless and inac- cessible annotations, where to hide notes, private numbers or ... secret recipes.