Christopher Grimes Gallery is pleased to announce a solo exhibition of new works by Veronika Kellndorfer. This body of work stems from her 2015 solo exhibition at the Casa de Vidro in São Paulo, home of celebrated Italian-born Brazilian architect Lina Bo Bardi. During this time Kellndorfer also engaged with the architecture of Oscar Niemeyer and gardens of Roberto Burle Marx, nding their approach to Brazilian Modernism nascent to a new scope of reference.

For Tropical Modernism: Lina Bo Bardi, Kellndorfer continues working in the process she developed in the early 1990s of silk-screening photographic images to highly re ective glass panels, fusing image to form. In the main gallery, Kellndorfer will show works pairing details of Bo Bardi’s iconic SESC Pompéia in São Paulo with an individual plant species found in the Royal Botanic Garden in Rio de Janeiro, Brazil. Like Bo Bardi, whose architecture explored reciprocity between the human and the built, Kellndorfer examines the dialog between the playfully Brutalist and culturally dynamic SESC Pompéia and the global selection of various plant species ourishing in Brazil. The South gallery will feature works referencing Bo Bardi’s architectural treasure: Tree House (Casa de Vidro) as well as two sculptures Casa de Vidro, Quadrado and Casa de Vidro, Triângulo.

About Veronika Kellendorfer:

Originally through painting and then through photography, Veronika Kellndorfer has been concerned with the physical and social construction of space. Since 2003, Kellndorfer has photographed classic modernist architectural landmarks in Los Angeles, including the only house built by Oscar Niemeyer in the United States, Rudolph Schindler’s Lovell Beach House, John Lautner’s Silvertop home in Silver Lake, and Frank Lloyd Wright’s Freeman House, among others. In 2012, she began photographing the architecture of Lina Bo Bardi, Oscar Niemeyer, and the gardens of Roberto Burle Marx, nding their approach to Brazilian Modernism nascent to a new scope of reference. Yet, rather than capturing the iconic wide-angle views of these famously photographed buildings, Kellndorfer focuses on the intimate details of windows and re ections and how they reveal the ephemeral nature of seeing, as well as the subjectivity of space. This ambiguity of space is heightened by Kellndorfer’s use of highly re ective glass panels that are often life- sized, and when displayed in a public setting, museum or gallery, invites the viewer to experience his or her own subjective surroundings.

Kellndorfer has had solo exhibitions in museums and institutions around the world, including the Casa de Vidro, Instituto Lina Bo Bardi, São Paulo, Brazil (2015); Pinakothek der Moderne, Munich, Germany (2012 and 2014); Aedes Land, Berlin, Germany (2010); Berlinische Galerie, Berlin (2005); Il parco, Villa Massimo, Rome (2005), and University of Southern California, Los Angeles, CA (2003). She has been included in group exhibitions at Cidade Matarazzo, São Paulo, Brazil (2014); Pier 24 Photography, San Francisco, CA (2013 and 2016); Orange County Museum of Art, Newport Beach, CA (2012); Villa Aurora Forum, Berlin, Germany (2010), and Martin-Gropius-Bau, Berlin (2008). Kellndorfer’s work is included in the permanent collections of the Hammer Museum, Los Angeles, CA; Pilara Foundation, Pier 24 Photography, San Francisco, CA; National Gallery, Hamburger Bahnhof, Berlin, and Museum of Contemporary Art San Diego, San Diego, CA, among others.

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