Galerie Gilla Lörcher

Contemporary Art

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Ivan Liovik Ebel

wieder Schein

Installation Views

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Ivan Liovik Ebel at Galerie Gilla Loercher 2012

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Ivan Liovik Ebel at Galerie Gilla Loercher 2012

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Works

Acryl and Acrylfirnis on canvas \r<br>5 parts, each 35 x 27 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Five figures, 2011

Acryl and Acrylfirnis on canvas
5 parts, each 35 x 27 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Oil on canvas \r<br>150 x 90 cm \r\n\r\nPhoto: Ivan Liovik Ebel

Untitled, 2012

Oil on canvas
150 x 90 cm Photo: Ivan Liovik Ebel

MDF, mirror glass and glass \r<br>L 60 x B 30 x H 30 cm \r\nEdition 1/1 + 1 AE\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and the artist

Untitled, 2012

MDF, mirror glass and glass
L 60 x B 30 x H 30 cm Edition 1/1 + 1 AE Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and the artist

Video

Press Release

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Galerie Gilla Loercher is very pleased to present the first solo show of Swiss artist Ivan Liovik Ebel in Berlin.

The catalogue „wieder Schein“ accompanies the exhibition. With a text by Ivan Liovik Ebel. Editor: Galerie Gilla Loercher, 2012

Ivan Liovik Ebel (born 1083) wrote about: “wieder Schein”: “The reflection has the peculiarity as a phenomenon that it changes the perception of the object on which it appears, depending on the position of the person who looks at it. Depending on its intensity, he can even move the object into the background by replacing the reflected image of the viewer and the world around him. In this way, a parallel world is projected onto the object, which develops to the same extent as the real world. On the other side of the mirror, the moving self-image invites you to imagine the possibility of its autonomous existence: what does my reflection do when I turn away? The doubling of space, which evokes the feeling of omnipresence, actually seems to intervene here in the apparently unshakable relationship between space and time: before our eyes, the here and now becomes a here, there and now.
The attempt to duplicate an image or a situation using material rather than artificial means stems from a reverse experiment, namely the execution of the same gesture in two different moments, in the same space - in a word, the attempt to capture the moment reproduce.
Although this experiment is ultimately doomed to failure, it does not lose its importance as it sheds new light on the complex bond between space and time. It forces us to think about the status of the present moment, that particular space that evades, is constantly moving and evading observation. But the reflection has other properties as well. At a lower intensity, it changes the shape of the object without hiding it. Through the movement of the observer, the intentionally created mirror image can make the desired shapes appear and disappear, thus increasing the properties of the object many times over. Regardless of its nature, it therefore acts as a multiplier of images. The mirror image is neither color nor matter, and only exists by reflecting what we project onto it; it changes the environment in this way. The sliding from one world to the other, the transition from object to reflection, from the real world to its virtual image, takes place through imperceptible intermediate stages that stimulate thought about the possibility of grasping and understanding the present without negation - neither future nor past - to fall back on. So how can you stage the moment, this intangible space that nobody can escape? Because art opens a window with a different view of the world, it offers a favorable breeding ground for reflection, observation and experimentation: a zone halfway between utopia and reality, in which the most abstract thoughts can crystallize in concrete and comprehensible forms."

Text: Ivan Ebel, Berlin 2012