We all struggle with inner contradictions – this also
applies to Peter Feiler (1981, Halle an der
Saale, Germany). The artist uniquely demonstrates this in his third solo
exhibition titled “Gruppenausstellung” (group exhibition). Mostly, his
works inhabit the borderline between wit and horror. This time, however,
the artist has not constrained himself to only displaying works that
focus on his central theme: the abyss of human existence. Peter Feiler
captures his critical view of society with sharpness, unwillingness to
compromise and the application various techniques onto paper and canvas.
In the process, he emphasizes the surreal assembly of specific social
topics and the political personalities involved.
The focal point of the exhibition is the 450 x 390 cm paperwork “Das
Narrenschiff im Terrorstrom“ (the ship of fools in a torrent of terror),
that depicts our society as a doomed ship. Populated by politicians,
managers and bankers, it irreversibly rushes up to an abyss. Meanwhile,
the scum of the earth transform themselves into a surge of rats that,
through a transparent tube, seek salvation in an upward flight and in
the favor of the politicians. In parallel, Feiler illustrates the
negative, manic aspects of coitus degraded to an industrial product and
mans’ transformation into will-less madmen. Teeming with naked bodies,
open wounds in repulsive, nevertheless fascinating detail, avarice,
lasciviousness, self-harm and the psychotic desire for pain and
destruction – a portrait of the human’s soul very darkest side and the
chasms of our society.
The crayon, this uncommon medium, adds a pastel colorfulness and an
almost childishly innocent patina standing in sharp contrast with the
almost pornographic poses of many of his protagonists; thus putting his
grotesque figures into perspective. The soft coloring and the filigree
execution of the oversized leaves will beguile the beholder into the
richness of detail, only then to be confronted with the full brutality
that inhabits the darkest side of the human soul.
The epic scale of his narrative style creates a confusing web of
different coherences and fragments. Feiler does not offer a preset
direction of reading, but forces the beholder to engage with the
complexity, the entanglement and the grotesque details of his works.
The special feature of this exhibition is that this entangled web
continues in further works, causing multiple suffocation of the
beholder. He must find his way between drawings that are rich in detail,
bold works made with edding-markers and photorealistic depictions or
paintings that initially seem romantic. The plethora of subjects ranges
from orgiastic scenes and contemporary events linked to foreign policy,
to genre-critical approaches. Where Feiler creates a photorealistic
depiction of newspaper clipping concerning Gerhard Richter’s generous,
charitable donation of a painting, it cannot simply be interpreted as
condemning the 09-11 terrorist-machinations. He also criticizes the
highly intellectualized egomania of individual artists.
The work “Optionen” (options) by contrast, at first appeals to the
spectator in a curious way, but subsequently compels him to turn away in
disbelief. Peter Feiler demonstrates yet another facet of his work when
he turns to the painting “Jesus with his disciples“ (1840) by Ferdinand
Olivier, an important Nazarene painter, and singles out the image-cut on
the right-hand side. By means of this apparently harmless landscape he
elicits an almost psychedelic sensation of restriction in the beholder.
As it seems, the actual portrayal of horror is not absolutely necessary
to create horror. It’s the feeling of fright and bewilderment they
convey, that serves to connect the works of Peter Feiler’s “Gruppenausstellung”.
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Galerie Adler New York
is pleased to announce the solo exhibition of new works by the young
German artist Peter Feiler. The presentation will include pencil, crayon
and ink drawings and paintings.
Peter Feiler focuses on nothing less than the downfall of mankind. The
inclination to experiment and the many layers revealed in his works open
them to many interpretations that do have one conclusion in common: the
rottenness of men will eventually lead them into their own doom. The
plethora of miscellaneous subjects, ranging from elaborate new universes
to the depiction of orgiastic self destruction and on to a casual
criticism of today’s highly intellectualized egomania which he raises
like a whirlwind in his pictures, all centre on the main theme: the
abysses in human existence.
Under the spell of rich details and bright colors, the spectator is
lulled into a false sense of security only to then be hit by the full
extent of the brutality of the human soul’s very darkest side. Peter
Feiler’s grotesqueries cover the precarious subject of “what men can do
to each other“ (Peter Feiler), with a childishly innocent patina
standing in harsh contrast to repelling and nevertheless fascinating
details. His protagonists’ salacious, almost pornographic poses, scenes
of abuse, rape, torture, adultery, are merely alluded at times, at times
pointed out in blatant explicitness. “I am not a missionary”, Peter
Feiler says, “I don’t want to change people. But maybe I can make them
discover something good with their repulsion of my provocations.”
Peter Feiler (*1981, Halle an der Saale, Germany) lives and works in
Berlin. Since 2002 he studies at the Academy of Fine Arts Berlin under
Prof. Wolfgang Petrick and Daniel Richter. This will be his first
one-person exhibition at Galerie Adler in New York and in the United
States in general.
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Frankfurt am Main. Laconic and motionless, a beer can in
his hand, an open book on his knees, a man sits on the bench of a train
that passes industrial buildings spitting out flesh coloured smoke. In
his open shirt, his intestines lie idle; his head and face are merely
bones and tendons, with mat, staring eyes, as if the skin, protection
against the outer world, had been ripped off only to reveal that no
mystery lies behind the outer shell, no spark, no passion, just dull
loneliness resolving into the void beyond recognition of his
surroundings: a second, female figure, naked to less than mere skin,
seems to disintegrate in agony, arms and legs distorted in pain while
naked children dance like gnomes through the scenery…
A scene directly looking into the every-day-monotony, the joyless
banalities of the forever same anybodies in inventory surroundings,
literally turning their insides out: A view into the protagonists’
devastated emotional world lying somewhere in the vast range from
complete resignation, the quest for meaning and an almost existentialist
world-weariness (Tramway scene, 2002).
For the first time in Frankfurt, Galerie Adler present the young
Berlin-based artist in a solo exhibition and we would liek to cordially
invite you to join us on the opening reception on Friday, Sept 8, 2006
from 6pm. The inclination to experiment and the many-layeredness
revealed in the works of Peter Feiler (*1981, Halle an der Saale,
Germany) open his works to many interpretations. Yet the plethora of
miscellaneous subjects ranging from the orgiastic over whole world
systems on to a casual criticism of today’s highly intellectualized
egomania (the Paradox of an individualized society, 2001) which he
raises like a whirlwind in his pictures all centre around the main theme
of the abysses in human existence.
With the unusual medium of coloured pencil’s pastellish tan, Peter
Feiler qualifies his grotesqueries and covers the precarious subjects of
“what men can do to one another “ (Peter Feiler) with a childishly
innocent patina standing in harsh contrast to his protagonists’
salacious, almost pornographic poses:
In the “Final Examination” (2002), a latent aggressiveness in mimics and
gestures hides beneath the sweet shades of green and blue and the
fragile execution of the poisonous Dieffenbacchia’s overlarge leaves.
Under the spell of those rich details, the spectator is lulled into a
false sense of security only to then be hit by the full extent of the
brutality of a human soul’s very darkest side: Abuse, rape, torture,
adultery, merely alluded at times, at times pointed out in blatant
explicitness. “I am not a missionary”, Feiler says about himself, “I
don’t want to change people. But maybe I can make them discover
something good with their repulsion of my provocations.”
„Sex is very ambivalently connotated”, says Feiler, and accordingly his
orgiastic ink drawings mainly focus on the negative, the manic aspects
of sexual intercourse reduced to an industrial product, teeming of naked
bodies and open wounds, of repelling and yet fascinating details, of
greed, lasciviousness, self infliction and the psychotic lust in pain
and destruction – a portrait of the soul’s shadows (Feast, 2003) the
consequences of which he proposes in the drawing “The last man” (2002):
with gleaming black eyes, a spider waylays an old, defeated man behind
whom a human carcass – his Alter Ego? Hybris itself? - rears up against
the colossal architecture in the background.
The epic dimension of Peter Feiler’s open narration spun from isolated
fragments and allusions to form dazzling and chaotic patterns gives
birth to a painting monumental not as much in size but in content; in
the throng of people, men fight gargantuan insects, beer-bellied
horsemen dash over the roofs of an unlikely, an impossible city while,
moonlike, an alternative world rises headfirst above the scenery as the
borderline between the terrific and the terrifying vanishes into a blur.
Short scenes like ripped from their context by momentary spotlights
mingle, are sent spinning in a maelstrom of antagonistic associations:
Peter Feiler plays off the visible against the perceivable (Hüpf Hopf,
2003). He does not offer a strand, refuses to provide a thread through
his works and forces the spectators to involve in the complexities, the
entanglements and humorous details in a self referential system to
eventually mould from it a story of their own.
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