Andrew Gilbert 
Présentation
La représentation visuelle étrange et expressive d'Andrew Gilbert de la guerre anglo-zouloue convie audacieusement l'observateur à examiner le colonialisme, le conflit et le fossé culturel selon une perspective fraîche et nouvelle. Ses peintures et dessins transmettent avec force sa vision critique de cette guerre menée contre la population zouloue en 1879.
Biographie
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Born 1980, Edinburgh, Scotland solo shows (selection): “Cut out her eyes – Cut off his Penis” (with Lucy Stein), Forgotten Bar, Berlin 2009
“The Zulu Queen stood as Jerusalem fell” , Ten Haaf Projects, Amsterdam 2008
“Black Magic White Power” , Galerie Andreas Hoehne, Munich “Fix Bayonets and Die like British Soldiers Die!” , Galerie Eva Bracke, Berlin 2007 Solo show, Gallery Eva Bracke, Jam Art Fair, Mallorca "To Wipe the Blade-Zulu", Galerie Eva Bracke, Berlin 2006 "Vezalay to Ulundi", Galerie Na Bydilku, Brno, Czech Republic 2005 "The Fall of the Pagan Idols", kjubh Kunstverein, Köln 2004
"The Tempation of John Knox", Forever and a Day Buero, Berlin 2003
"Deutsch Afrikanische Freundschaft", Autocenter, Berlin 2010
‘Obscene’ curated by F. Hufnagel, Wiensalon Berlin ‘Riders’ Gallery Polad-Hardouin, Paris 2009
‘Zeigen’ Temporary Kunsthalle Berlin, Berlin ‘Les portes du Paradis’ Galerie Eva Bracke, Berlin ‘Free Nelson Mandela’ Spor Klublu, Berlin ‘George says: No Martini, No Party’, Apartment, Berlin ‘Am Anfang war das Ende’ Galerie in Ballhaus Ost, Berlin ‘Monument to Andrew’s Capture of Jerusalem’ Preview Art Fair, Templehof Airport, Berlin (Cat.) ‘Tjorg Douglas Beer presents . . .’ Forgotten Bar, Berlin ‘Das Geshehen’ Apartment, Berlin ‘Raaf van Der Sman presents . . . ‘ Forgotten Bar, Berlin ‘Friendly Fire’, PR17, Berlin ‘Transcendendenz Ink’ Forgotten Bar, Berlin ‘Moraltarantula II’ Hamburg ‘Borderline Pleasures’ Galerie Michael Janssen, Berlin ‘Der Muede Tod’, Kai 10 Raum fuer Kunst, Dusseldorf (Cat.) ‘The lovers of Lutz Braun’ Galerie Antik, Berlin 2008
‘Moving Walls’, Museum of New Art, Detroit ‘Mathew,Mark, Luke and John’ , WhitelacesLivingRoom Gallery, Berlin ‘A4 Editions’ , Five Years Gallery, London ‘Sovereign European Art Prize Exhibition’ , Somerset House, London (Cat.) ‘Oil Prices reach Sky High’ , F. G Station, Karlsruhe ‘Ecstatic Stairs’ Die Aenderei, Muenchen ‘Porridge Wogs’ Five Years Gallery, curated by Cedar Lewisohn, London (Cat.) ‘Madonna und Wir’ Galerie Christian Nagel, Berlin 2007 ’Group Show’ Gallery Eva Bracke, Berlin ’Ben Cottrell, Andrew Gilbert, Andreas Hofer’, Forever and a day Buero, Berlin ‘Irresistible Magazine’ curated by Cedar Lewisohn, Tate Modern, London ‘Return to Forever’ Forever and a day buero, Berlin „La Boum III“, Breslau / Warschau, Poland (Cat.) Apokalypse", Kunstverein Mönchengladbach (Cat.) "Illegale Kunstwerke auf Papier", PR 17, Berlin Residencies
2010
Goethe Institute Artist in Residency, Meet Factory, Prague |
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Libre propos
Ils en parlent
Andrew Gilbert's uncanny and visually expressive portrayal of the Anglo-Zulu war audaciously challenges the observer to examine colonialism, conflict, and cultural divide from a refreshingly new perspective. The exhibit features a life-size installation of four British soldiers combined with Zulu tribe masks and weapons, and an assortment of paintings which convey powerful, deeply concentrated images of the Anglo Zulu war of 1879.
An unadulterated and chaotic sense of instability underlies Gilbert's installation. His use of low grade materials; dried up carrots, rotted pineapples, and rusted nails entwined with Zulu warrior masks, British soldier uniforms, and hand-crafted artillery brilliantly captures the magnitude and sheer intensity of such a battle. The striking combination of Zulu weaponry and British traditionalism not only reveals the catastrophic nature of the Anglo Zulu War, but of war itself. The bold, unequivocal application of red, white, and blue (colors of the British flag) blatantly and strategically overshadows the rustic and [often] subtle display of tribal artifacts. Through this theatrical motif, Gilbert encourages the spectator to question the relationship between victory and defeat; superiority and subordination.
The paintings exude a rare combination of symbolism, patriotism, and often dream like compositions. Through a unique blend of pencil, acrylic, and watercolor the British and Zulu images are often unkempt, whimsical, and playfully mingled with one another. His daring use of red, white, and blue to convey British superiority blatantly surpasses the warm brown, yellow, and green shades used for the Zulu tribe warriors. Furthermore, Gilbert's incessant and randomly assorted portrayal of mushrooms and baby chicks dressed as British soldiers is hard to decipher, and leaves room for much interpretation.
Taken as a whole, Gilbert's work undoubtedly captures the tension, magnitude, and vitality of conflict and struggle. The installation and images combined offer profound intensity, and room for [open] thought.
For more information on this event and others featured at Ten Haaf Projects, visit their website at www.tenhaafprojects.com
--Athena Newton
