San Francisco

Felix Schramm, Transom, 2019, gypsum, wood, pigment, 15' 2“ × 14' 2” × 18' 8".

Felix Schramm, Transom, 2019, gypsum, wood, pigment, 15' 2“ × 14' 2” × 18' 8".

Jannis Kounellis and Felix Schramm

Adrian Rosenfeld Gallery

A distinct theatricalization of the everyday links the practices of Jannis Kounellis and Felix Schramm, two longtime friends who were once teacher and student. Although the late Greek Italian artist had a penchant for heavy materials, while the German artist is more attentive to lightness and play, their practices meet on philosophical grounds, as this dual exhibition demonstrated. Kounellis was represented by three moments in his artistic arc: a pre–Arte Povera painting, a 1979 print made at San Francisco’s legendary Crown Point Press, and two assemblages that display the affective material discordance typical of his mature practice. The 1963 painting Lunedi, Martedi, Mercoledi (Monday, Tuesday, Wednesday), showed the artist using the force of symbolic systems to activate his compositions. The three titular words were stacked on top of one another, their large, bold lettering softened by

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