Oliver Osborne and Peles Empire
Empire / Osborne
Moran Moran are pleased to present Empire / Osborne, an exhibition by the Berlin based artists Peles Empire and Oliver Osborne. For both artists this represents the largest presentation of their works in the United States to date.
Peles Empire began their collaboration by opening an illegal bar in Frankfurt’s red light district in 2005. This space featured a wallpaper of A3 colour copies reproducing nearly to scale a room from the 19th Century Peles castle in the foothills of Romania’s Carpathian mountains. The Peles castle is a historicism castle, in which each room is a copy of a different architectural style; an Elizabethan banqueting hall will lead to a Florentine music room, and then onto a Rococo study. That these rooms were built by local craftsmen with little knowledge of the original style and techniques produces a very specific form of mistranslation that represents a pre-industrial simulacra that appears to anticipate post-modernism nearly one hundred and twenty years before the event.
The act of copying or translation that birthed the Peles castle is carried over to their own approach to studio production. What is realised in three-dimensions for one exhibition, becomes two-dimensional source material for the next period of production. In this exhibition they explore the possibilities of illusion in new works using Jesmonite, carpet, rope and UV printing. The transition of material from 3d to 2d is simultaneously the content and material for their work. Printed carpets of scenes from the studio, a trompe-l’oeil effect of arrangements paused in mid-production, are works in which the by-product of one phase of production becomes the integral content for another work. The process becomes, temporarily, the work. The act of copying is more important than the copy itself.
Oliver Osborne uses the languages that we recognise as belonging to painting (the materials, the imagery, the mode of address) as a method to look at painting’s constraints, opportunities and contradictions. This approach often results in considered shifts in scale or process, which is born from a studio practice that attempts to stretch as far as possible the connections between different modes of making. Shown here are new works using techniques that combine oil painting, silkscreen, and his most complicated use of machine-embroidery yet. The source material for these works is disparate; a German textbook page, bread, a ‘spot’ cartoon of a terrier, or a savoy cabbage. Connecting all of them however is the speed at which they can oscillate between the general and the personal, or between the abstract and figurative.
Both artists make transparent an interest in the mechanics of production, translation and illusion. In certain cases a connection can be literally drawn between motifs like breadcrumbs or rubble, but there is also common to both artists a broader cultural interest in how objects and images change through time, dislocation or reproduction.
Peles Empire was founded in 2005 in Frankfurt. Education at the Staedelschule Frankfurt, Germany and Royal Academy Schools, London, UK. Recent Solo Exhibitions include: Kasseler Kunstverein, Kassel (2017); Wilhelm-Hack Museum, Ludwigshafen (2015); SALTS, Birsfelden (2015); GAK, Bremen (2014); Kunstmuseum Stuttgart, Stuttgart (2013); Glasgow Sculpture Studios, Glasgow (2013); Cell, London (2013). Other recent exhibitions include Skulptur Projekte Münster, Münster (2017), Made in Germany III, Hannover Kunstverein, Hannover (2017); Open House, Kunstverein Braunschweig, Braunschweig (2016); A Salon on Hybrid Things, Kunstwerke, Berlin (2015); Bundeskunsthalle Bonn (2013); Echo Release, Nassauischer Kunstverein, Wiesbaden (2013); Bold Tendencies, London (2012), Frieze Projects, London (2011). They received the Stiftung Kunstfonds Scholarship (2016); Kunststiftung Baden-Württemberg (2013); Temple-Bar Residency, Dublin (2012); Hessische Kulturstiftung (2011); Deutsche Bank Award (2009); and MAK Schindler Scholarship, Los Angeles (2007).
Oliver Osborne (b. 1985, Edinburgh) received a BA in Fine Arts from Chelsea College of Art and a postgraduate Diploma from the Royal Academy Schools, London. Forthcoming and recent solo exhibitions include; Bonner Kunstverein, Bonn (2018); Tanya Leighton, Berlin (2017); Peles Empire, Berlin (2016); Vilma Gold, London (2016); Gió Marconi, Milan (2015); Catherine Bastide, Brussels (2015). Other recent exhibitions include: Plant Scenery of the World, Inverleith House, Edinburgh (2017); Home is not a place, German Embassy, London (2017); The Written Trace, Paul Kasmin, New York (2015); The Funnies, MOT International, Brussels (2015); The Go Between, Museo di Capodimonte, Naples and Sprovieri, London (2014); Everything Falls Faster Than An Anvil, Pace Gallery, London (2014); Bloomberg New Contemporaries, ICA, London (2012). He lives and works in Berlin.
Mar 03 - Mar 31, 2018
937 N. La Cienega Blvd.
Los Angeles, CA 90069
Saturday, March 3