Pawel_Althamer | Michael_Asher | Nairy_Baghramian | Guy_Ben-Ner | Guillaume_Bijl | Martin_Boyce | Jeremy Deller | Michael_Elmgreen und Ingar_Dragset | Hans-Peter_Feldmann | Dora_Garcia |
Isa_Genzken | Dominique_Gonzalez-Foerster | Tue_Greenfort | David_Hammons | Valérie_Jouve | Mike_Kelley | Suchan Kinoshita | Marko_Lehanka | Gustav_Metzger | Eva_Meyer und Eran_Schaerf | Deimantas_Narkevicius | Bruce_Nauman | Maria_Pask |
Manfred_Pernice | Susan_Philipsz | Martha_Rosler | Thomas_Schütte | Andreas_Siekmann | Rosemarie_Trockel | Silke_Wagner | Mark_Wallinger | Clemens von Wedemeyer | Annette_Wehrmann | Pae_White
*1963 in Hildesheim, lives and works in Berlin
The materials he uses tell stories: the wood comes from various building sites, and this or that doorframe has been in someone’s living room for years. Even as part of a self-contained sculpture, the prior life of the materials shines through. In this way, by compressing and layering elements, Manfred Pernice creates relationships between spaces. Indeed, Pernice treats the location of his work just as freely as he juxtaposes various architectures within them. On the lawn of the Engelenschanze, which is in the heart of downtown Münster on the way to the main train station, Manfred Pernice has created a “Memorial & Recreational Facility.”
After he had removed the stone benches underneath a concrete slab, Pernice installed a steel pavilion with a glass roof upon this newly created platform. The Berlin artist has brought the pavilion with him to Münster from the district of Hohenschönhausen in the east of Berlin. Next to it he has erected a column modeled after the Schmitz-Säule in the old part of Cologne, which documents the exact distance to the moon and was unveiled at the very moment Neil Armstrong set his foot on the lunar surface. Pernice’s work, however, is inscribed with information pertaining to Münster. A new position-fixing or bearing will be taken for the column, here at the Engelenschanze – a place that has undergone many changes over the course of history: once a bastion, then the domicile of Johann Engelen, and afterwards, following its destruction during the Second World War, a small park that eventually became home to George Rickey’s kinetic sculpture, the first modern outdoor sculpture in the city. Many of Münster’s citizens objected to it when it was purchased in 1975, but two years later provided stimulus for the first edition of the Skulptur Projekte.
Manfred Pernice employs the most simple, and frequently used materials in his art, i.e. cardboard and chipboard. His works reveal the traces of their origin and original utilisation. Some are partially coloured or covered with photos and sketches. Pernice is interested in the relationship between interior and exterior spaces. Almost like a classical sculptor he focuses on the organisation of mass, and in this process designs autonomous three-dimensional objects that initially do not fit any category. Pernice performed at the Lyon Biennale in 1997, at manifesta in 2000, at documenta in 2002, and at the Venice Biennale in 2003. Architecture is one of the references of his art. Some of his works could equally function as furniture or means of communication. Pernice mistrusts prefabricated modular systems. He works against the currently predominating linearity and develops anti-forms with varying identities and functions. The beholder feels invited to permanently change his/her position in order to contemplate Pernice's aesthetic modules, and to question the reliability of their dimensions.