MICHAELA MEISE
"ONE PLUS ONE"


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04.05.-10-05.2020:   CHADWICK RANTANEN
11.05.-17.05.2020:   TORBJØRN RØDLAND
18.05.-24.05.2020:   ASAL PEIROVI
25.05.-31.05.2020:   MIKAEL LO PRESTI
01.06.-07.06.2020:   MARI SLAATTELID
08.06.-14.06.2020:   GARDAR EIDE EINARSSON
15.06.-21.06.2020:   MICHAELA MEISE
22.06.-28.06.2020:   HANNAH RYGGEN
29.06.-05.07.2020:   NINA BEIER
06.07.-12.07.2020:   MARIUS ENGH
13.07.-19.07.2020:   FREDRIK VÆRSLEV

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STANDARD (OSLO) is pleased to announce the last remains of our first solo exhibition with Berlin-based artist Michaela Meise. What was at the centre of her exhibition, entitled "Spazieren", were five stained wooden sculptures of human brains. There is one left. It is shown here. Reduced to minimal models this one offers less of exact evidence and more in terms of confronting the viewer with not knowing. As with the German term 'spazieren' – that may be translated as 'strolling' – Meise is interested in a line of thought uncertain of its own endpoint.

A watercolour painting was depicting a creature that is half dog and half girl; two photographs based on stills from the science fiction film "Invaders from Mars" (1956); a torn page from a book showing a woman seated on the ground next to what appears to be an elf. The motifs and references appearing in the works of Michaela Meise did not necessarily correspond, but rather appeared as elements in a system of 'dissonance'. Claim and withdrawal were continuously negotiated in Meise's works. Narratives were suggested and then brought to an abrupt halt by the muteness of rustic and coolly distanced sculptures. "Monument Minor" – as she applied as title for a previous exhibition – may also have served as a term for these sculptures, installations and relieves. Almost always executed in wood and then lacquered or stained, they possessed the rationality of Classical architecture, the boldness of Modernist furniture design, or shared a sense of logic recognizable from display systems. The five sculptures in this exhibition were presented on plinths of transparent Plexiglas. At the same time the rational, bold and monumental character of these works was gauged against an interest in the singular, the incomplete and the imperfect, where the process of their making and the various layers of purple, black and brown stain all were left visible.

The same work method was employed for the last sculpture that was going into the show, but Handapparat set itself aside from the others by a particular function. It shared its title with a system of display units commonly found in university libraries. Books on a specific topic (in relation to a seminar or a series of lectures) were here presented for a limited period of time. Meise's selection, however, did not limit itself to a particular topic nor to the task of serving as an index for the exhibition. Nevertheless, it offered both clarifying and mystifying links to the works on display. Among the many books here made available was "The Emigrants", a collection of short stories by the German writer W. G. Sebald. It lingered on what appeared to be a recurring motif with some of the books: exile as both involuntary displacement but also a time for contemplation. Connecting with the above-mentioned sculptures, "Tinted Brain", Meise addressed the exile in regards to the (re-) construction of the ego. The dislocation of exile – experienced by so many writers and artists through history – had also allowed for a sense of overview and a sense of self. In fact, according to the fellow writer Albert Camus, it represented the essence of the human condition: "In a universe suddenly divested of illusion and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land."

One singular sculpture stills exists from this exhibition. You see it here. The rest you just have to trust me on.

- Back then, and still now, Eivind Furnesvik

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Michaela Meise
Tinted Brain #4
2007

Wood / Stain and plexiglass pedestal
Sculpture: 30 x 37 x 25 cm / 11 3/4 x 14 1/2 x 9 3/4 in
Plinth: 120 x 32 x 32 / 47 x 12 1/2 x 12 1/2 in
Unique / SOMM/S 2007-005

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