The “Expanded Fields” group show at Nymphius Projekte in Berlin investigates contemporary approaches to sculpture. The exhibition presents a variety of works, most of which are hung together on a wall in a fascinating mosaic of different styles.Taking its title from an essay “Sculpture in the Expanded Field” (1979) by Rosalind Krauss, the exhibition seeks to present sculpture as a postmodernist form, occupying the negative space between what Krauss terms as “not-landscape” and “not-architecture”. The format of many of the works at the exhibition poses a question about the relationship between sculpture and painting as well, adding an additional dimension to the diagram presented by Krauss.Gerold Miller’s “Monoform 66” (two aluminum moldings coated in nickel, 2015,) consists of two horizontal strips, reminding one of an unfinished frame. This work draws attention both to framing as a sculptural device, and to the hollow space in between, escaping the limits set out by the moldings.Heimo Zobernig’s “Untitled” (oil on canvas, 1986) explores the sculptural dimensions of the traditional medium of paint. The geometrical forms and gradation of shades of blue create an impression of three-dimensionality.Some of the works take on a more conceptual approach, mixing different media. Liam Gillick’s “Angled Reference Screen” (aluminum, Plexiglas, vinyl text, 2014) presents a text on a wall, shielded by a transparent screen. The sculpture ceases to be simply a three-dimensional object, because it mixes graphic design with architectural structures.The group show at Nymphius Projekte presents sculpture as an ever-expanding category, erasing the distinctions between painting, architecture and installation.“Expanded Fields” runs at Nymphius Projekte, Bayerischer Platz 5, 10779 Berlin, through April 16, 2016.
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