LIA Summer Show at archiv massiv

LIA Summer Show at the Spinnerei archiv massiv

Alpha & Omega
17 – 25 July 2020

Perceval Graells
Dylan Prince
Daniela Schwabe

As guest:
Andrew Read


Spinnerei archiv massiv (INFO)
Halle 20, Spinnereistr. 7, 04179 Leipzig

Opening Hours:

Friday, 17 July 2020, 5 pm to 10 pm
Saturday, 18 July 2020, 12 am to 5 pm
Wednesday, 22 July 2020, 12 am to 5 pm
Thursday, 23 July 2020, 12 am to 5 pm
Friday, 24 July 2020, 12 am to 5 pm
Saturday, 25 July 2020, 12 am to 10 pm

About the Artists:

Perceval Graells


Spanish painter Perceval Graells uses a non-descriptive language inspired by emotions and feelings. It is through this that her inner life comes out and expresses her personal vision of the world. The idea of this project stems from the personal need to metamorphose pain and suffering into peace and calm through the gestures and sewing arts traditionally performed by women. Through her work, a dialogue is created between painting and installation and between artist and spectator. Therefore, the aim of this project is to provoke a personal and psychological reflection in the viewer.

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Dylan Prince


Dylan Prince is an artist living and working in New York City. He studied painting and writing in Visual & Critical Studies at the School of Visual Arts and spends a six months residency now in LIA, following his graduation. The collection of projects Dylan has developed so far here in Leipzig include several concurrent practices: painting, drawing, writing, sound engineering and assemblage. The more direct paintings with repetitive concentric forms were made out of continuous obsession. The artist imagines these circular forms as both vehicles and containers. Oftentimes they directly reference organic physiology (Self in Supercardioid) and in others, they reference macro consolidation – the consolidation of power, of capital, and of information into singular absolutes. The forms are then as much about the natural universe as they are about the constructed universe of industry and geopolitics.

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Daniela Schwabe


Daniela Schwabe introduces her new painting series DEEP FAMILY that combines the research and usage on artifical intelligence (AI) with family portraits of her relatives from Germany and The Netherlands. Together with designer Casper Schipper, Daniela developed an AI system that makes use of deep learning and was being fed portraits of her family members. After being trained the AI system will generate portraits of new family members which are then transformed into paintings. In Daniela’s work, the AI is used as a creative tool for a new body of work, as a dialoge partner on the aesthetics and the perception of what is a portrait and how the human can be seen and be painted. Through this conceptual approach, Daniela Schwabe emphazises the potential and challenges of new technological developments such as AI that have brought the artificial and the human closer together than ever, creating neural networks that can be creative, intuitive and unpredictable.

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Andrew Read


In February 2020, Andrew Read from Melbourne, Australia, spent one month at LIA, preparing himself to settle permanently in Europe.  The Corona crisis crossed his plans and forced him to go back to Australia for some more time.  We now invite him to join the LIA Summer Group Show, to show the series of small scaled monoprint works on linen he produced during his residency period. This series can be seen as a visionary work as Andrew was using toilet paper and paper towels as found objects, spotting on interesting or funny graphics and design. On the one hand, these works reflect Western hygenic obsessions, even more relevant in terms of panic buying of toilet paper and other hygenic products during the Corona crisis. On another level, these “toilet paper painting” show Andrew’s permanent interest in the fixation of language and everyday images as contemporary visual codes. Through transforming the ordinary item into an objet d’art as well as through repitition and playful deconstruction of the contexts, Andrew Read is questioning usage and understanding of written and visual language of the capitalistic mass culture – and, at the same time, the medium of painting itself.

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The exhibition is kindly supported by: