Wednesday – Friday 12 – 6 pm
Saturday 12 – 4 pm and by appointment
Jonathan Penca works in diverse media such as drawing, sculpture, performance and video. Penca’s interest in stage and costume design and dramaturgy resonates in his artistic practice in the negotiation of boundaries between reality and staging. Influences from and deliminations between natural science, pop culture and science fiction offer subjects to reflect on the relation between queer and fluid embodiment as subversive moment and late-capitalist individualization. His sculptures are at times animated, also in collaborative settings. Penca’s manifold approaches have in common that they defer oppositions between the natural and the artificial, or the actor and the represented, until their dissolving. In his works, the artist – also through excessive scales – opens up double-edged, ambiguous spaces, within which the dilemma between in- and hypervisibility are negotiated playfully and the viewer is invited to partake.
Jonathan Penca (b. 1988, Augsburg) lives and works in Munich. He studied Fine Arts at the HFBK Städelschule, Frankfurt am Main, with Judith Hopf (2009-2015) and sculpture at the Academy of Fine Arts in Vienna with Julian Göthe (2014). Recent solo and group exhibitions include Haus der Kunst, Munich, Germany (2021); Paläontologisches Museum, München, Germany (2023); CONDO London at Hollybush Gardens, London, UK (2020); Deborah Schamoni, Munich, Germany (2018); Kunstverein München, Munich, Germany (2017); Souvenir, Alto Refugio, Buenos Aires, Argentina (2017).
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Jonathan Penca works in diverse media such as drawing, sculpture, performance and video. Penca’s interest in stage and costume design and dramaturgy resonates in his artistic practice in the negotiation of boundaries between reality and staging. Influences from and deliminations between natural science, pop culture and science fiction offer subjects to reflect on the relation between queer and fluid embodiment as subversive moment and late-capitalist individualization. His sculptures are at times animated, also in collaborative settings. Penca’s manifold approaches have in common that they defer oppositions between the natural and the artificial, or the actor and the represented, until their dissolving. In his works, the artist – also through excessive scales – opens up double-edged, ambiguous spaces, within which the dilemma between in- and hypervisibility are negotiated playfully and the viewer is invited to partake.
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