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 Sculptures fashioned in simple, untreated wood or plywood, together with small models developed out of cardboard inspire amazement as to the effect that can be produced with such simple, unglamorous ingredients. Paint, which in the meantime has been added, workings-over on the sculptures and the models, glued-on text fragments, strips of adhesive tape, still-visible connective elements all reinforce this impression. The choice of material produces a feeling of the unfinished, the provisional, of the apparently randomly assembled. It becomes clear relatively quickly, however, that questions are being posed here regarding sculpture, the mastering of space and volume and the ratios of individual proportions to one another. The materials take on a subserviant role.
Manfred Pernice’s sculptures are the result of an intensive working over of a comprehensive spectrum of thought – expression of a complicated process of creation not always free of contradictions. The models can vary widely: public squares, buildings, rooms, landscapes. Added to this is an intensive study of text.
The development of sculptures with architectonic design elements interests Pernice in terms of its relation to the viewer – as the effect on the real viewer standing in front of it, and on a fictitious viewer to whom it could also stand in relation. The interplays between these poles is intended, is indeed a necessary element of his work.
The first working steps towards the designing of large sculptures are developed through the trial and experimentative fields of drawing and cardboard modelling. Ideas concerning form finding can be read in great detail from these studies. Sometimes it is enough to look at a drawing to comprehend the main line in development to a sculpture, sometimes an entire drawing series and the incorporation of models are required. But a model does not exist for each sculpture, nor a sculpture for every model. The viewer is required to bring a high degree of concentration in order to understand all aspects of Manfred Pernice’s sculptures. At the same time, they alleviate the establishment of contact through their physical presence. They are there, and, in their size (but not in their massiveness) they are an agreeable example of the artistic ability to articulate, which visibly distances itself in its complexity from the flatness of a purely formal gesture.
Manfred Pernice
- Born 1963 in Hildesheim
- 1984 - 87 Graphik und Malerei an der Hochschule für Bildende Künste Braunschweig
- 1988 - 93 Bildhauerei an der Hochschule der Künste Berlin
- 1994 Meisterschüler an der Hochschule der Künste Berlin
- Lives and works in Berlin
Scholarship and Prices:
- 1997/98 Arbeitsstipendium der Stadt Bremerhaven
- 1998 Arbeitsstipendium der Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin
Solo exhibitions (Selection)
- 1998 Galerie Konrad Fischer, Düsseldorf
E-Welten (maritim), Kunstverein Bremerhaven
A+J, London (GB)
Bad, bath, Anton Kern Gallery, New York (USA)
Pilmut, Stella Lohaus Galerie, Antwerpen (B)
Migrateurs, Muse dÕArt Moderne de la Ville de Paris, Paris (F)*
Platz, Galerie NEU, Berlin
- 1997 Verkranzlerung, Kabinett für aktuelle Kunst, Bremerhaven
D & A Punkt, Galerie nächst St. Stephan, Wien (A)
- 1996 Stralau 1, Kunsthalle Moabit, Berlin
Galerie Klemens Gasser, Köln
- 1995 Zeichnungen + Modelle, Galerie NEU, Berlin
Groupexhibitions (Selection)
- 1998 Museum of Fine Arts, Warschau (PL)*
Berlin Biennale, Berlin*
Statement, Galerie NEU, Berlin, Art 98,
Basel (CH)
Mai 98, Joseph Haubrich Kunsthalle, Köln*
Brytningstider, Norrköpingsmuseum, Norrköping (S)*
- 1997 Urban living, Galerie Fons Welters, Amsterdam (NL)
Heaven, P.S.1 Museum, Long Island City,
New York (USA)
surprise II, Kunsthalle Nürnberg, Nürnberg*
Biennale de Lyon, Lyon (F)*
Produzentengalerie, Hamburg
Museu de Arte Moderna da Bahia, Salvador (Brasilien)
Fiat, Künstlerhaus Stuttgart, Stuttgart; Städtisches Museum, Zwickau*
To show what's NEU, Galleri Stalke, Kopenhagen (DK)*
- 1996 something changed, Galerie Klosterfelde, Hamburg
Etwas Besseres als den Tod findest du überall, Junghofstrasse, Frankfurt/M.*
- 1994 FBK, Berlin
- 1993exposition de cul, Ecole Nationale Supérieur des Beaux-Arts, Paris (F)
Kunstaufstellung Aufguß, Frontart, Berlin
- 1992 Benefizausstellung, Neue Gesellschaft für Bildende Kunst, Berlin
UNFAIR Köln, Spreefischer/TMF
[Gunda Förster] [Hans Hemmert] [Sabine Hornig] [York der Knöfel] [Michel Majerus]
[Antje Majewski] [Olaf Nicolai] [Manfred Pernice] [Daniel Richter]
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