CHRISTIAN BONNEFOI
SARAH CHARLESWORTH
LIZ DESCHENES
ROE ETHRIDGE
JUTTA KOETHER
DANIEL LEFCOURT
VALENTINA LIERNUR
JASON LOEBS
SCOTT LYALL
NICK MAUSS
CHARLES MAYTON
JOHN MILLER
OLIVIER MOSSET
SEAN PAUL
JULIA PHILLIPS
EILEEN QUINLAN
BLAKE RAYNE
CLEMENT RODZIELSKI
CHRISTOPH RUCKHÄBERLE
NORA SCHULTZ
AMY SILLMAN
REENA SPAULINGS
JOANNE TATHAM & TOM O’SULLIVAN
CHEYNEY THOMPSON

NORA SCHULTZ

Born 1975, Frankfurt / Main, Germany

Lives and works in Berlin

 

EDUCATION 

1998 – 2005 Städelschule, Frankfurt / Main

2005 MFA Studies at Milton Avery Graduate School of the Arts, Bard College

2005 Ermenegildo Zegna Grant

2006 Sommerakademie, Paul Klee Zentrum, Bern

 

SOLO EXHIBITIONS

2017 «Cent Dent», Isabella Bortolozzi Galerie, Berlin

2016  Kadist Art Foundation, Paris

Dépendance, Brussels

2015 «The Story of the countdown», Cabinet Dommuseum, Salzburg

«Story Off the Roof», Meyer Kainer Gallery, Vienna

«I am Honda», Reena Spaulings Fine Arts, New York

2014 «Terminal +», Tate Modern, London, 11 December, as part of the cycle BMW Tate Live: Performace Room.  On view online.

«Parrottree, Building for Bigger Than Real», The Renaissance Society, Chicago

2013 «Stative auf der Flucht / The tripods’ escape», Isabella Bortolozzi Galerie, Berlin

«A Moveable Feast – Part IV», Campoli Presti, Paris

«Rug Import», Campoli Presti, London

2012 «Portikus Printing Plant and Portikus Sounds» , Frankfurt, Germany

2011 «COMMA 35», Bloomberg Space, London

«Figurazione/Substituzione», Pavillon, Luca

2010 «Avere luogo», Fondazione Giuliani, Rome

«Tunnel» Sutton Lane (Campoli Presti), London and Paris  / «Countdown performance», Sutton Lane (Campoli Presti), Paris.

«Hebezeug», Galerie Isabella Bortolozzi, Berlin

Fondazione Galleria Civica-Centro di Ricerca sulla Contemporaneit, Trento

2009 «Nora Schultz», solo show as part of «Non-Solo Show, Non-Group Show» project, Kunsthalle, Zurich

Art/40/Basel, Art Statements with Sutton Lane (Campoli Presti)
«10 9 8 7 6 5 4 3 2 1 0», Koelnischer Kunstverein, Cologne

2008 «Nora Schultz», Reena Spaulings, New York

«Hidden Fox», Dependance, Brussels

2007 «Zero Ruler», Sutton Lane (Campoli Presti), London

«Carriers in Search of the Time-Tilted Weight», Isabella Bortolozzi, Berlin

«Nora Schultz», Kjubh, Cologne

2006 «The Metal Magazine», Galerie Meerrettich, Berlin

2003 Turmgalerie Hochheim, Hochheim am Main

«Fenster zur Stadt», Garage 13, Frankfurt/Main

 

GROUP EXHIBITIONS

2017 Skulptur Projekte 2017, Munster

Inge Man and Nora Schultz, Kunstverein Braunschweig, Germany

Keren Cytter & Nora Schultz. Galleria Raffaella Cortese, Milan

«Condo 2017: Maureen Paley hosting Depandance», Maureen Paley, London

2016 ART PRICE BÖTTCHERSTRAßE, Kunsthalle Bremen Der Kunstverein in Bremen, Germany

«Secret Surface. Where Meaning Emerges», KW Institute for Contemporary Art, Berlin

2015 «Green Tea Gallery Presents: The Radiants», Bortolami, New York

«Bricologie_Le souris et le perroquet», Villa Arson, Nice

«Screamscape – Summer exhibition», Kunsthalle Freiburg, Switzerland

2014 «Chat Jet: Skulptur in Reflexion (Part 2)», Kunstlerhaus, Graz

«Nature after Nature», Fridericianum, Kassel

«Work Order, Change Order» MITCHELL-INNES & NASH, New York

2013  «Some End of Things» Kunstmuseum Basel, Museum für Gegenwartskunst, Basel

«Despite our differences», Fondation Hippocrène, Paris

«Avant de Rentrer, Il Faut Incendier la Maison», Thomas Duncan Gallery, Los Angeles

«Some Redemptions», Soloway, New York

«I knOw yoU», Irish Museum of Modern Art, Dublin

«Version Control», Arnolfini, Bristol

2012  «Social Scarecrows Printing Fields» (with Ei Arakawa), Reena Spaulings Fine Arts, New York

«Ecstatic Alphabets/Heaps of Language», MoMA, Museum of Modern Art, New York / «Countdown performance», April 30 and May 2, The Bauhaus Stair Area, MoMA, New York.

2011 ArtlBasellMiami Beachl with Scott Lyall and Clément Rodzielski

«That’s The Way We Do It», Kunsthaus Bregenz

«Fax»,Carpenter Center, Harvard

«Faces», two-man exhibition, Gallery Dependance, Brussels

Project curated by Mousse magazine, Art Brussels

Exhibition of scholarship holders, Villa Romana, Florence

2009 «Non-Solo Show, Non-group show», with Ei Arakawa, Nicolas Gambaroff and Nick Mauss, Kunsthalle, Zurich

Two person exhibition with Pernille Kapper Williams, Grazer Kunstverein, Austria

«Collatéral» (with Liz Deschenes, Sam Lewitt, Scott Lyall, Sean Paul, Eileen Quinlan, Blake Rayne, Cheyney Thompson), Le Confort Moderne – Centre pour l’Art Contemporain, Poitiers

2008 «Idealismusstudio», Grazer Kunstverein, Graz, Austria

«On Interchange – Zwischenspiele einer Sammlung», Museum Kurhaus, Kleve, Germany

«Non-Solo show, Non-group show», with Ei Arakawa und Henning Bohl, Galleria Franco Soffiantino, Turin

«One Season in Hell», Mehringdamm 72, Berlin

2007 «24 November – 22 December», Sutton Lane (Campoli Presti), Paris

«The Four Colour Contingency», The Approach, London

«For the People of Paris», Sutton Lane (Campoli Presti) Paris
«kjubh: The New Domestic Landscape 2007», curated by Caroline Nathusius, kjubh, Köln

«The Re-distribution of the Sensible», curated by Warren Neidich, Magnus Mueller, Berlin

«Dependance», Galerie Neu, Berlin

«Tension, Sex, Despair, Wow/So What?» WUK, Vienna, curated by Christian Egger

«A Year-In-Review-Lamp-Installation by Galerie Meerrettich», Vilma Gold, London

«The Last Show», Flaca, London

«Copy Performance at Riot the 8 Bars by Ei Arakawa», NGBK Berlin

«No Ideas Without Bodies», Egypted, Vienna

2006 «Experiments in Pop», Zentrum Paul Klee, Bern

«Societe des Nations…», Circuit, Lausanne

«Back and Forth», Duisburger Akzente, Duisburg

«Blows into the Microphone…», WUK, Vienna

2005 «Nora Schultz and Marcelline Delbecq», Galerie Johann Koenig, Berlin

«Wer von diesen sieben(…)», Kunstverein Braunschweig

2004 «Ripples», Interim Projekte, Hafen2, Offenbach

«Sommerfotogruppenausstellung», Galerie Meerrettich, Berlin

2003 «Recycling the Future / Vivere Venezia 2», Venice Biennale

«Blaupausen», NASPA, Wiesbaden

«Filmscreening at Hessenschau», Mal Seh«n Kino, Frankfurt

«Anker aus Kork – Künstler aus Frankfurt», Kunstraum Galerie Arcade, Mödling, Austria

«Heute», Hessisches Ministerium für Wissenschaft und Kunst, Wiesbaden

2002 «Frontflipping», Kaskadenkondensator, Basel

2000 «Festival junger Talente», Offenbach

1999 «Performance-Congress», Poelzigbau, Frankfurt

 

BIBLIOGRAPHY

2014 Kyle Macmillan, «Reviews: Nora Schultz at Renaissance Society», Art in America, April

Ian Bourland, «Nora Schultz, Renaissance Society», Artforum, May

«Nora Schultz: Parrottree», The Renaissance Society, University of Chicago (cat.)

«Some End of Things», MGK Basel (cat.)

2013 John Beeson, «Critics’ Pick – Nora Schultz at Isabella Bortolozzi Galerie», Artforum, December

Wes Hill, «Nora Schultz: Building Signs and Language Acts», Frieze d/e, issue 8, February / March

Anna Gritz, «Nora Schultz’ Rug Import», Art Agenda, 18 March

William Kherbek, «Nora Schultz: Rug Import», Port, 15 March

2012 Karen Rosenberg, «Building Blocks of Meaning, Retranslated/ Elastic Alphabet/ Heaps of Language?», New York Times, 3rd of May

2011 Fondazione Giulaini, «avere luogo», solo exhibition avere luogo (catalogue),Rome

Colin Perry, «Nora Schultz», Frieze, issue 133, September

2010 Oliver Basciano and Chris Sharp,« Nora Schultz: Tunnel?», Art Review, 3 June

2009 Barbara Buchmaier, «Halt In Der Schwebe», Texte Zur Kunst, issue 75, volume 19 September

Kirsty Bell «Confiscating», Mousse, issue 19 (summer)

Michelle Cotton, «Nora Schultz», Artforum, 5 May

2008 Nora Schultz,«Top Ten», Artforum, issue XLVI (April), No. 8

Barunke, Regina and Haberer, Lillian ,«Nora Schultz: Dear Parrot», On Interchange – Zwischenspiele einer Sammlung, Museum Kurhaus Kleve, Germany (catalogue)

Nora Schultz, «Ausufernde Gegenwart – on Thea Djordjaze», Thea Djordjaze, Kunstverein Nürnberg Albrecht DŸrer Gesellschaft, Germany (catalogue)

2007 Charles Danby, «Nora Schultz», Untitled, issue 43 (summer)

Michelle Cotton, «Michelle Cotton on Nora Schultz at Sutton Lane, London», Texte zur Kunst, Issue 67 (September)

«Nora Schultz», kultureflash, 16 May

2006 Nora Schultz, «Confessions of a Psycho-Scooter», Experiments in Pop. Aufbruch in eine neue Alltäglichkeit, The Sommerakademie at the Zentrum Paul Klee, Bern (catalogue)

24 November – 22 December

24 Nov, 2007-22 Dec, 2007

Sutton Lane (Campoli Presti), Paris

Zero Ruler

21 Apr, 2007-26 May, 2007

Sutton Lane (Campoli Presti), London

Nora Schultz
Zero Ruler
21 April – 24 May 2007

Sutton Lane is pleased to announce the first solo exhibition in London of Nora Schultz.

The zero is the left over of the Countdown Performance and was used as a tool for the Perspective Drawings, further it is providing the Corner Panorama.

The Extendable Black Plate can be extended from 1 up to 4 meters and shortened back.

Block Letters depend on a wall to lean on

Self-welded X-Tables carry footage found at the construction place next door.

The Blockletter Magazine

The image of the Red-Faced Makake was constructed through manipulating the light that exposed the photo paper; a process that resembles to the production and aesthetics of a drawing or a painting. It is not a monkey that either keeps its eyes, its ears or its mouth shut.
The red-faced makake is a monkey that got famous by its recent anarchist take-over of civilization.

There are photographs called Material Replacements

Two parrots were looking through a 3d postcard. When the card was bent, a third parrot appeared in the background telling the others Don’t Trust What They Teach You. Quickly, a photo was taken.

Nora Schultz, April 07

Nora Schultz has used in her work found material like newspaper articles, scientific drawings, „Ida“ from Gertrude Stein and a survey of fists symbolic of revolutionary momentum, to observe the transformation which occurs to language and narration when it becomes incorporated into material forms. possibly opening up the space of language and altering it through its conversion into other material forms, other carriers of information.

She is concerned with questions, how language, narration, fixed language form can, by being transformed in materiality break the authorities of its grammar forms or can enlarge the form of these language codes by the use of external materiality and become a more free floating form of thought, which gets altered during production and materialization process.

In her present exhibition „Zero Ruler“ she includes photos of a performance she made together with Ei Arakawa last year at Galerie Meerrettich, Berlin, focusing on the motif of the countdown as a tool, where the grammatical form of the past tense is a form of narration referring to when something began and when it ended. So it is a way to describe this remote and time related event, without providing documentary evidence of the content of the performance, which was the transformation of the Gertrude Stein text from the book to a folded metal sculpture.

Consequently Nora Schultz abandons in the other parts of the exhibition the use of found material referring to a remote content but instead she describes modes of narration in a more self evident mode within the given material of grammar, rules and material limitation. Forms still retain some of their inherent monumentality, but interventions and interferences become conceivable.

Josef Strau, April 07

Nora Schultz was born in 1975 in Frankfurt/Main, Germany. She studied at Städelschule, Frankfurt and at Milton Avery Graduate School of the Arts, Bard College, New York and was awarded the Ermenegildo Zegna Grant. She lives and works in Berlin. Recent group exhibitions include Dependance at Galerie Neu, Berlin, For the People of Paris at Sutton Lane, Paris and The Re-distribution of the Sensible at Magnus Mueller, Berlin.

The Invisible Fourth Wall

28 Jan, 2009-28 Mar, 2009

Sutton Lane (Campoli Presti), London

Tunnel

18 May, 2010-26 Jun, 2010

Sutton Lane (Campoli Presi), London

Nora Schultz
Tunnel

11 May – 12 June 2010
Sutton Lane, Paris

18 May – 26 June 2010
Sutton Lane, London

Sutton Lane is pleased to present new work by Nora Schultz. This is Schultz’s third solo exhibition with Sutton Lane following her first show in 2007 in London.

Tunnel is an exhibition in two parts, being presented concurrently at Sutton Lane in London and in Paris. Tunnel in this context makes reference to the physical distance between the two exhibitions and appears as a sculptural form in both of them.

On view in Paris are five sculptures and a slide projection. The slide projection shows a BMX bike ramp that descends the Teufelsberg in Berlin, which was built out of ruins after the Second World War. The ramp runs all the way down the hill whereby found elements such as mattresses and debris are placed in the curves in order to prevent bikers from sliding out of the ramp. The sculptures in the exhibition consist of railing parts, mattresses and ramps, thus redoubling the material seen in the slide projection. In a printing session previous to the exhibition the artist produced ‘Countup / Countdown prints’ using the ‘tunnel print roll’ and stencils made out of camping mats. The prints were then applied to the sculptures.

On view in London are four sculptures and eight ink drawings. Whereas in the Paris exhibition the material is being activated and put into relation with the site and time, in London its inherent properties are being tested and rendered visible. Some of the material is taken from furniture which through the intervention of the artist becomes unusable. In this sense the possibility of movement is being removed from the pieces of furniture so that they become still objects. Alongside the sculptures, ‘objectless’ drawings are being exhibited.

The notion of ‘objectlessness in art’ (Gegenstandslosigkeit) as described by Malevitsch is an underlying motif throughout the exhibition. The black metal sheets, tunnel-esque sculptures and stacks of furniture seem to become non-objective forms, oscillating between immateriality and the physical presence of the material.

Nora Schultz lives and works in Berlin. In 2009 the Koelnischer Kunstverein hosted a solo exhibition by the artist, the Grazer Kunstverein presented a two person show and Schultz was included in Art Basel Statements with Sutton Lane. She has an upcoming solo exhibition at the Fondazione Giuliani in Rome. Recent group exhibitions include Non-Solo Show, Non-Group Show at Kunsthalle Zurich, Collatéral at Confort Moderne, Poitiers (2009) and On Interchange – Zwischenspiele einer Sammlung at Museum Kurhaus Kleve, Germany (2008).

Tunnel

11 May, 2010-12 Jun, 2010

Sutton Lane (Campoli Presti), Paris

Nora Schultz
Tunnel

11 May – 12 June 2010
Sutton Lane, Paris

18 May – 26 June 2010
Sutton Lane, London

Sutton Lane is pleased to present new work by Nora Schultz. This is Schultz’s third solo exhibition with Sutton Lane following her first show in 2007 in London.

Tunnel is an exhibition in two parts, being presented concurrently at Sutton Lane in London and in Paris. Tunnel in this context makes reference to the physical distance between the two exhibitions and appears as a sculptural form in both of them.

On view in Paris are five sculptures and a slide projection. The slide projection shows a BMX bike ramp that descends the Teufelsberg in Berlin, which was built out of ruins after the Second World War. The ramp runs all the way down the hill whereby found elements such as mattresses and debris are placed in the curves in order to prevent bikers from sliding out of the ramp. The sculptures in the exhibition consist of railing parts, mattresses and ramps, thus redoubling the material seen in the slide projection. In a printing session previous to the exhibition the artist produced ‘Countup / Countdown prints’ using the ‘tunnel print roll’ and stencils made out of camping mats. The prints were then applied to the sculptures.

On view in London are four sculptures and eight ink drawings. Whereas in the Paris exhibition the material is being activated and put into relation with the site and time, in London its inherent properties are being tested and rendered visible. Some of the material is taken from furniture which through the intervention of the artist becomes unusable. In this sense the possibility of movement is being removed from the pieces of furniture so that they become still objects. Alongside the sculptures, ‘objectless’ drawings are being exhibited.

The notion of ‘objectlessness in art’ (Gegenstandslosigkeit) as described by Malevitsch is an underlying motif throughout the exhibition. The black metal sheets, tunnel-esque sculptures and stacks of furniture seem to become non-objective forms, oscillating between immateriality and the physical presence of the material.

Nora Schultz lives and works in Berlin. In 2009 the Koelnischer Kunstverein hosted a solo exhibition by the artist, the Grazer Kunstverein presented a two person show and Schultz was included in Art Basel Statements with Sutton Lane. She has an upcoming solo exhibition at the Fondazione Giuliani in Rome. Recent group exhibitions include Non-Solo Show, Non-Group Show at Kunsthalle Zurich, Collatéral at Confort Moderne, Poitiers (2009) and On Interchange – Zwischenspiele einer Sammlung at Museum Kurhaus Kleve, Germany (2008).

Art / 40 / Basel Statements with Nora Schultz

10 Jun, 2009-14 Jun, 2009

Basel

A Moveable Feast – Part IV

23 Nov, 2013-21 Dec, 2013

Campoli Presti, Paris

A Moveable Feast – Part IV
Nora Schultz
23 November – 21 December 2013
Campoli Presti, Paris

The fourth edition of A Moveable Feast is dedicated to the work of Nora Schultz.

Drawn by the cyclical character of A Moveable Feast and the artist’s recurring references to time throughout her practice, the exhibition attempts to plot a chronological line between the works while exposing their discontinuous nature.

The first solo exhibition of Nora Schultz, Zero Ruler, was held at the gallery in 2007 shortly after her inclusion in the group exhibition For the People of Paris. In the same year, in a performance with New York–based artist Ei Arakawa (b. 1977), Schultz documented with series of photographs the sculpting of a thin, flexible length of stainless steel into forms of successive numbers comprising a countdown from ten to zero. Countdown Performance, (2007/2012) shows the steel becoming increasingly contorted as each new number embodies echoes of its previous incarnation evolving into the zero, suggesting an impossible return to neutrality. It was exhibited recently at the Irish Museum of Modern Art and at MoMA in 2012 in the exhibition Ecstatic Alphabets/Heaps of Language, where the original performance was enacted. “Countdowns are ambivalent, ” states Schultz, “they can be threatening… but they can also be the numbers for increasing promises of pleasure”.

In Perspective Drawings, (2007) Schultz utilised the contorted length of steel first used in Countdown Performance as a drawing instrument. This work encompasses the artist’s engagement with the relationships between writing, performance and the medium of sculpture – the core constituent of her practice.

Nature Piece, (2013) – produced for her recent solo exhibition Rug Import at Campoli Presti, London this year – comprises commonplace office carpets that function as a support for manual printing processes. Embedded into the carpets, imprints left from paint-drenched cuts of carpet and a foam mat are marks made by materials that function both as printing utensils and sculptural components of the installation as a whole. Incorporating advertising panels for building projects found at construction sites depicting artificial renderings of the natural world, Nature Piece is a recent example of Schultz’ engagement with the acts of translation and displacement that occur when external realities and cultural motifs are appropriated and rearranged.

Nora Schultz lives and works in Berlin. The Renaissance Society will host a solo exhibition of her work in January. She recently had solo exhibitions at Portikus, Frankfurt (2012), Bloomberg Space, London (2011), Fondazione Giuliani, Rome (2010) and Koelnischer Kunstverein, Cologne (2009). Her work has been included in Call of the Mall: Art in Hoog Catharijne & Utrecht Central Station; Version Control at Arnolfini, Bristol and I knOw yoU at Irish Museum of Modern Art, Dublin this year. Past group exhibitions include Ecstatic Alphabets/Heaps of Language at MoMA, New York (2012), That’s The Way We Do It at Kunsthaus Bregenz (2011), Non-Solo Show, Non-Group Show at Kunsthalle Zürich (2009), Collatéral at Confort Moderne, Poitiers (2009) and On Interchange – Zwischenspiele einer Sammlung at Museum Kurhaus Kleve, Germany (2008).

Death By Water. Death By Fire.

17 May, 2013-22 Jun, 2013

Campoli Presti, Paris

Lucy Dodd / Jutta Koether / Nora Schultz / Viola Yeşiltaç
Death by water. Death by fire.
Curated by David Lewis
17 May – 22 June 2013
Campoli Presti, Paris

Campoli / Presti is pleased to present a show of work by four artists. Four artists: Four elements. Four walls, too. But the exhibit emphasizes mainly two: Water and fire. Water first–then fire. Not to the exclusion of earth or air, ever (how would that even be possible?) but the final fantasy here is the ringing sea. The idea being to associate the technologies of writing, and with them all the related technologies of painting, with water and watery transformation; then to add to this not only the memory of two inscriptions on two Anglophone tombs but also the image (the flicker of an icon) of a curtain of flames rising above the waves. It’s suave mari magno versus et in arcadia ego, all over again.

« This Grave / contains all that was Mortal / of a / Young English Poet / Who / on his Death Bed, in the Bitterness of his Heart / at the Malicious Power of his Enemies / Desired / these Words to be / engraved on his Tomb Stone: / Here lies One / Whose Name was writ in Water. 24 February 1821″
***

Lucy Dodd was born in 1981 in Garden City, New York. Dodd received her BFA from Art Center College of Design in 2004 and her MFA from Bard College in 2011. Dodd has been featured in numerous group shows both nationally and internationally, including Blum & Poe, Los Angeles; Meyer Kainer, Vienna; and Balice Hertling & Lewis, New York. Dodd had her first solo show at ProChoice in Vienna in 2010, and, together with musician Sergei Tcherepnin, she was part of Performa 11 in New York in 2011.

Based in Berlin and New York, Jutta Koether is also a professor at the Hochschule für bildende Künste Hamburg. As a musician, she has worked with artists such as Tony Conrad, John Miller, Tom Verlaine, Kim Gordon and the late Steven Parrino (as Electrophilia). Recent exhibitions include the Whitney Biennial and Sao Paulo Biennial, both 2012, and solo exhibitions at the Moderna Museet, Stockholm (2011), and the Van Abbemuseum, Eindhoven (2009). Her work was recently included in the Tate Modern exhibition A Bigger Splash: Painting after Performance. Her solo exhibition Seasons and Sacraments is currently on view at Arnolfini Bristol, after being exhibited at DCA, Dundee.

Nora Schultz recently had solo exhibitions at Portikus, Frankfurt (2012); Bloomberg Space, London (2011); Fondazione Giuliani, Rome (2010) and Koelnischer Kunstverein, Cologne (2009). Past group exhibitions include Version Control at Arnolfini, Bristol (2013), Ecstatic Alphabets/Heaps of Language at MoMA, New York (2012), That’s The Way We Do It at Kunsthaus Bregenz (2011), Non-Solo Show, Non-Group Show at Kunsthalle Zurich (2009), Collatéral at Confort Moderne, Poitiers (2009) and Nora Schultz / Pernille Kapper Williams at Grazer Kunstverein (2009). Schultz’ work will be included in the upcoming group exhibition I knOw yoU at the Irish Museum of Modern Art, Dublin.

Viola Yeşiltaç has exhibited works in solo and group exhibitions including Balice Hertling and Lewis, Catherine Bastide Gallery, Brussels; Laing Art Gallery, Newcastle; Am Nuden Da, London; Kunstverein Langenhagen, Bundeskunstshalle, Bonn; Kunsthalle Recklinghausen, Museum Folkwang, Essen; Sommerakademie Centrum Paul Klee, Bern; Sculpture Center, New York; Artists Space, New York, P.S.1.Contemporary Art Center, New York; Front Desk Apperatus, New York; Museum of Modern and Contemporary Art, Geneva; Galleria Civica di Arte Contemporanea, Trento; and Team 404 & John Armleder Museum of Modern Art, Shanghai.

Rug Import

27 Feb, 2013-28 Mar, 2013

Campoli Presti, London

Nora Schultz
Rug Import
27 February – 28 March 2013
Campoli Presti, London

Campoli Presti is pleased to present Nora Schultz’ fourth solo show with the gallery. The exhibition comprises expansive floor assemblages, composed of carpets, found images, synthetic foam, metal sheets and paint; and specifically made wall-based works on paper.

The exhibition title serves as a structure to integrate several of Schultz’ concerns. Rug Import bears associations with the rich textures, vibrant colours and opulent patterns of oriental rugs that since the nineteenth century have been imported from Asia to Europe to be traded and collected. Traditional rugs are cultural artefacts linked to notions of community, craft, time and territory. Sigmund Freud is known for having accumulated a fine collection of rugs among them the one that famously covered the psychoanalytical couch.

Schultz’ work investigates cultural connotations and meanings of materials, objects, signs and how these are transformed through context and performance. She engages with the acts of translation and displacement that occur when external realities and cultural motifs are appropriated and rearranged.

For the present display, Schultz has appropriated common office carpets which inherently have a short-lived and transitory character. These have been treated with paint and used as support for manual printing processes where foam pieces with wet paint are rubbed against and imprinted onto the surface. City Sound of Rug and Nature Piece (all works 2013) incorporate advertising panels for building projects found at construction sites depicting artificial renderings of nature and architecture. Rug Memory Printer consists of a stencilled mat that has been used to produce the patterned prints upon the large sheets of paper installed on the wall. Cutting into the surface of the carpet, Schultz employs forms latent in her memory, through a process of traversing the material intuitively. The exhibition creates a dense network of meanings through a simultaneity of production and visual objects.

Julia Kristeva’s writings explore the subversive possibilities within language. Kristeva is interested in enunciations that disrupt signification going beyond the cultural, political and economic apparatuses that govern the subject. Schultz’ works activate a different dimension of language opening up space for a more free floating form of thought.

Nora Schultz lives and works in Berlin. She recently had solo exhibitions at Portikus, Frankfurt (2012), Bloomberg Space, London (2011), Fondazione Giuliani, Rome (2010) and Koelnischer Kunstverein, Cologne (2009). Her work is currently on view at Arnolfini, Bristol as part of the exhibition Version Control and will be included in the upcoming group exhibition I knOw yoU at Irish Museum of Modern Art, Dublin. Past group exhibitions include Ecstatic Alphabets/Heaps of Language at MoMA, New York (2012), That`s The Way We Do It at Kunsthaus Bregenz (2011), Non-Solo Show, Non-Group Show at Kunsthalle Zurich (2009), Collatéral at Confort Moderne, Poitiers (2009) and On Interchange – Zwischenspiele einer Sammlung at Museum Kurhaus Kleve, Germany (2008).