We are pleased to show new relief sculptures and a selection of monotypes by Alexi Tsioris at gallery Arnoldi-Livie in Munich, together with reliefs and drawings by Adolf von Hildebrand (1847-1921). Born in Athens and based in Munich, Alexi Tsioris continues the sculptural tradition in the city, and our presentation highlights the different approaches and positions of the two artists.
Alexi Tsioris has always been fascinated by the act of drawing. In each of his works, one senses the importance of line. Despite the multitude of signs and shapes that coexist in Tsioris’ works, the gentle, linear structures maintain clearly focused and concentrated. Each line and symbol finds its place and maintains balance with the other elements on the canvas, paper, or in three-dimensional space. Alexi Tsioris finds inspiration in, among a multitude of influences, the earliest forms of artistic expression – timeless elements such as archaic mark-making in prehistoric caves.
For our exhibition, Tsioris created nine new reliefs, oval shapes that suggest head-like forms, faces projecting from a wall, yet seeming quietly withdrawn into themselves. On closer inspection, the figurative association dissolves into an abstract structure of lines, some in aluminum, others in bronze, in hues ranging from silver to black, partially with a green patina. These reliefs find their continuation in a series of monotypes, a technique typical for Alexi Tsioris. The hand of the sculptor Tsioris is also visible in these two-dimensional works; as in his three-dimensional work, it is also about the “constant exchange between addition and reduction” .
Hildebrand’s autodidactic training was guided in his early years in Rome and then Florence solely by his friend, the painter Hans von Marées, 10 years his senior. In 1873 they created a total work of art of the highest European rank with the painting and decoration of a hall of the Zoological Station in Naples. During their time together (1868 – 1875), first in Rome, then in Florence, supported by their wealthy patron, friend and intellectual companion Konrad Fiedler, the artist friends strove to renew their art and liberate it from detail and decoration. While Marées was increasingly consumed in the conceptual struggle, Hildebrand, with both artistic power and restraint, strove life-affirmingly toward the completion of his works. These drew their power from the purity of body language. In his portrait busts, characterized by a Renaissance-like composure, he was concerned with the inner nature of the sitter. He turned against any salon complacency, as was prevalent in the art world with Lenbach or Kaulbach. Especially in the depictions of his children, art and life are harmoniously combined in great poetry.
The casts of Alexi Tsioris’ new works, as well as the organization of the exhibition and a forthcoming publication have been made possible by the generous support of the Stiftung Kunstfonds Neustart Kultur initiative.
We would like to thank Jahn und Jahn, Munich for the collaboration.
 Alexi Tsioris, Cosmic Fruits, Jahn und Jahn, Munich, March 15 – April 27, 2019, quote from the exhibition text by Dr. Michael Semff
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