Kunsthalle Kempten - MAP, MIND, MEMORY Part II

© 2017 Kenneth Pils

Kunsthalle Kempten - MAP, MIND, MEMORY Part II

Exhibition information
Group shows
Sat 16 September - Sun 15 October
2017
Kunsthalle Kempten
Memmingerstr. 5
87439
Kempten (Allgäu)
Wednesday–Sunday 14:00–18:00
Kempten

Exhibitors: Sophie Dvořák, Kenneth Pils, Bertram Schilling, Matthias Wohlgenannt and Silvia Jung-Wiesenmayer

Works info: 

A selection of works from the "diaries" project 2013-17, chosen on the basis of the exhibition theme "MAP MIND MEMORY".
21 x 15 cm, watercolor, charcoal, acrylic and pencils on paper.
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Paintings from the series "Traveler"
70 x 50 cm, acrylic on canvas på duk
1 In-between Settlement
2 Chapter Three - The Arrival
3 Illuminated Day
4 Slow Walk For Dreamers
5 Planning For Exhibit A

MAP, MIND, MEMORY is a series of loosely connected exhibitions dealing with the individuals’ perception, movement and interaction in a world of rapid change.
The second part of MAP, MIND, MEMORY is a collaboration of five Swedish, Austrian and German artists exploring how places impact on us in a physical and psychological sense, how they shape us and become a part of who we are.
Silvia Jung-Wiesenmayer and Bertram Schilling receive the Kunsthalle Kempten Grant 2017 for their exhibition-project “Map, Mind, Memory-Part II”.
The opening on Saturday, September 16th, 7-11 p.m. is connected with the event “Kunstnacht Kempten”.
Sunday 24th , 3-4 p.m: Artist talk with Christian Hof about regional and international artprojects and the MAP, MIND, MEMORY exhibition series.
With friendly support of Kulturamt Kempten

diaries
Kenneth Pils contributes with an selection from the "diaries" project (December 2013-May 2017); a selection of works loosely based on the exhibition theme "MAP, MIND, MEMORY".
The "diaries" project was an open survey of the artist's thoughts, ideas and fantasies during the period. The only limitation was: 1. the paper size, 2. that there would be a picture and 3. that something would be done on the paper every day. No restrictions were set regarding subjects or materials. Sometimes he used random methods for finding motifs, sometimes he started by staining the paper and on the basis of the stains worked out a picture.
By using random methods for the pictures he is not aiming to question the author but rather wants to unravel his own choosing precesses and at the same time discover new visual appearances and unforeseen meanings.
Each image is a concentrated act in a specific time situation (a moment), as the single image in the exhibition shows. The pictures together are presented in disorderly cluster hanging. This is due to insight from previous presentations where "diaries" have been shown chronologically. To organize the flow of events in a timely order does not provide any additional meaningful information in this project, rather it is an obstacle, because it fools the viewer to believe that an order exists. The pictures do not necessarily have anything to do with each other. The only thing we can be sure of is the time when the images came into being - and that is always the present moment.

Traveler
Kenneth Pils's second contribution to the exhibition "MAP, MIND, MEMORY" is "Traveler", a painting project that displaces time and creates temporary homes for the eye.

To paint is to travel in space and time, between imagined and physical experiences. The hand works from the sweeping overview to the details and back. The eye inhabits the picture, it walks around looking for places to be. When the painting concerns me it becomes my home - for a while anyway.

The architectural parts in the paintings often have biographical relevance for me. It's the kindergarten, pumping station, grill kiosk from my childhood home town. The backgrounds are taken from Dutch golden age paintings from the 17th century (among other Van van Goyen and Salomon van Ruisdael). The motifs are more or less blended into each other.
The handling of the images and the painting process is a a way to digest memories and information to form new hybrids. In the paintings the images frees themselves from their original meaning and context and become a temporary home for the onlooker
The horizon height is the same in each painting: it runs right through all the pictures if you have them side by side. They can both be seen as individual images and as part of a larger context.