Michael Gumhold

mg3161kopie.jpg
1

Untitled (giving head), 2012
Ram scull, Wood, Screws, Bassdrum-Pedale, springs, varnish
50 x 54 x 37 cm

mg3209kopie.jpg
2

Untitled (flat tambourine logarythm manual, snare drum, hi hat + bottle top, floor tom / bottle top, Mikrofonspinne), 2012
tripods, wood, canvas, springs, paint, parts of drum kit, cooking pot + lid, crown caps, mirror folie, wood, recordplayer, varnish, book, aluminium, recording studio tripod, screws, cucumber
size variable

mg3183kopie.jpg
3

Untitled (silver rig), 2012
wood, varnish
27 x 26 x 420 cm

mg3160kopie.jpg
4

Untitled (Microphonies), 2012
acrylic and varnish on wood, springs
120 x 145 x 7 cm

mg3152kopie.jpg
5

Untitled (equipment, hands, instruments), 2011 - 2012
acryl on record cover
4 sets á 12 Stück, je 31 x 31 x 2 cm

gumhold1.jpg
6

Untitled (corridor), 2009
Music cassettes, cable strips, wood, carpet
215 x 270 x 700 cm

gumhold3.jpg
7

Untitled (Moonwalk - Dancefloor), 2009
Acrylic varnish on wood, screws
5,5 x 230 x 366 cm

gumhold5.jpg
8

Untitled (The Sculpture Group # 6 feat. W. Benjamin), 2009
Springs, acrylic varnish on wood, screws, typewriting letters on construction paper, acrylic glass
170 x 220 x 8,5 cm

gumhold7.jpg
9

Untitled (The Sculpture Group-expanded #3), 2009
acrylic and varnish on wood, springs
127 x 111 x 7 cm

gumhold6.jpg
10

Untitled (Come on motherfucker), 2002 - 2009
Oil, adhesive letters and acrylic varnish on canvas
120 x 100 x 5 cm

gumhold2.jpg
11

Untitled (Rotorelief), 2008
Two record players, wood, varnish, aluminium, various electronic devices, lemon
45 x 38 x 56 cm

gumhold4.jpg
12

Untitled (flat tambourine #1), 2008
Crown caps and acrylic varnish on wood, springs
92 x 104 x 7 cm

Michael Gumhold

The multilayered referential system of the artist Michael Gumhold (1978) does not hesitate to encompass all icons of music, art, or design history. With no sense of scruple, he reaches into the treasure chest of our memories and frees the archives in our minds. He dissects, dismantles, repeats and makes new linkages and lays out the track along which we follow him into his semiotic visual universe. Gumhold likes associational chains of quotations that do not remain mere references, but rather serve a starting points for aesthetic reformulations. The shift in significance—as from high to low, from original unique object to a recontextualized copy—here has a method, and is intentional. Gumhold’s rough material aesthetic and expressive gesture are directly borrowed from the event character of music, and a rather hard-rock style of music at that. In his Rehearsal : Room-Installationen apparatuses familiar from music, like instruments, microphones, or amplifiers, are taken from their functional context and find a new existence as sculptures in a sign system. The music itself might remain silent, but its revolutionary potential, its affective directness and performative force are transformed into the situation of the exhibition.

Michael Gumhold’s works have been on view at Österreichisches Kulturforum London (2009), Neue Galerie am Landesmuseum Johanneum, Graz (2007), or Cultur Centrum Wolkenstein (2001).