Paris Internationale - © Paris Internationale
Deborah Schamoni - © Paris Internationale
Deborah Schamoni

Deborah Schamoni is a contemporary art gallery based in Munich, Germany.
Situated in a 1970s villa, the gallery is able to offer its artists a spacious white cube, flooded with daylight and opening up to a greened outdoor area, as well as an independent smaller room.

Since its founding in 2013, the gallery has focused on showing and supporting emerging international artists and it presents an exceptional program that unites international positions with a subversive and self-reflexive approach to art making considering the complexity of human coexistence.

The gallery often stages the first shows of upcoming international artists in Germany. The gallery is developing a distinct profile with artists like Maryam Hoseini, Yong Xiang Li and Dala Nasser, who investigate the sociopolitical conditions of queer identity and gender, and share a diasporic experience in their works.
Beyond its international focus, the gallery has been playing an important part in establishing Munich as a prominent destination for contemporary art and its discourses.

The gallery currently represents thirteen international artistic positions including Gerry Bibby, Flaka Haliti, Judith Hopf, Maryam Hoseini, KAYA (Kerstin Brätsch and Debo Eilers), Yong Xiang Li, Aileen Murphy, Dala Nasser, Jonathan Penca, Eric Sidner, A.L. Steiner, Davide Stucchi, and Amalia Ulman.

Mauerkircherstr. 186
D-81925 Munich

bureau@deborahschamoni.com
www.deborahschamoni.com

For the eighth edition of Paris Internationale, Deborah Schamoni is happy to present large-format paintings by Irish artist Aileen Murphy (1984) and furniture pieces of the series “Do you want us here or not” by US-American artist and activist Shannon Finnegan (1989).

Aileen Murphy, *food that I would feed my lover*, installation view, Deborah Schamoni, 2022 - © Paris Internationale

Aileen Murphy, food that I would feed my lover, installation view, Deborah Schamoni, 2022

Aileen Murphy

Deborah Schamoni - © Paris Internationale

In her distinctive approach to painting, Aileen Murphy generates imagery through a combination of slow layering and fast applications of oil paint, animating a delicate urgency and sparking sensations of both epiphany and discomfort. Fictive characters are the focal points of Murphy’s paintings. The figures fluctuate under the viewer’s eye, revealing and concealing themselves behind and via the materiality of the medium.
The vivid painterly gestures suggest exuberant joy and stimulation, but seem quite more complex upon closer inspection: the surface consists of scribbles and marks, translucent watercolor base layers reveal traces of erasures, and text blurbs are scratched in the wet paint.

In Murphys hands, painting is an act of imaginative action—colour and gesture are live wires. The images committed to canvas arrive there through an ongoing process of reinvention. A true identity is revealed only to then conceal itself and re-emerge as something other but no less true.

Aileen Murphy (b.1984, Sligo) is an Irish painter based in Berlin. Murphy graduated from the National College of Art and Design, Dublin (2007) and then studied under Amy Sillman and Monika Baer at Städelschule Frankfurt, graduating in 2018. Recent solo exhibitions include “food that I would feed my lover”, Deborah Schamoni, Munich, Germany (2022), “WET TALK”, Kevin Kavanagh, Dublin, Ireland (2022), “face not her own her hair”, Amanda Wilkinson, London, UK (2021), “PANTING”, Temple Bar Gallery and Studios, Dublin (2019), “Bounty” (with Diana Copperwhite), Kevin Kavanagh, Dublin (2018), “Naked Cheerleaders in my Chest”, Deborah Schamoni, Munich (2017). Recent group exhibitions include “THE SAME AS EVER BUT MORE SO”, curated by Miriam Bettin, Braunsfelder, Cologne (2018), “And Creatures Dream… A new Language”, The Wexford Arts Centre (2017), “Opals”, curated by Vincent Honoré, Galleri Opdahl, Stavanger (2016).

Age - © Paris Internationale
Aileen Murphy
Age, 2022

oil and oil stick on canvas, 200 x 200 cm

Hi! Arrangement - © Paris Internationale
Aileen Murphy
Hi! Arrangement, 2022

oil and pigment on canvas, 191 x 178 cm

Dover - © Paris Internationale
Aileen Murphy
Dover, 2022

oil, marker, ink, oil stick, pigment, decorative sand on canvas, 150 x 120 cm

Slippy stomping, chomping - © Paris Internationale
Aileen Murphy
Slippy stomping, chomping, 2020

oil on canvas, 200 x 160 cm

Computer - © Paris Internationale
Aileen Murphy
Computer, 2022

oil, marker, ink, acrylic, oil stick on canvas, 190 x 150 cm

Wednesday - © Paris Internationale
Aileen Murphy
Wednesday, 2022

oil and oil stick on canvas, 190 x 150 cm

Aileen Murphy, *food that I would feed my lover*, installation view, Deborah Schamoni, 2022 - © Paris Internationale

Aileen Murphy, food that I would feed my lover, installation view, Deborah Schamoni, 2022

routines #5 - © Paris Internationale
Aileen Murphy
routines #5, 2022

ink and paint marker on paper, 59 x 42 cm

routines #16 - © Paris Internationale
Aileen Murphy
routines #16, 2022

ink and paint marker on paper, 59 x 42 cm

routines #23 - © Paris Internationale
Aileen Murphy
routines #23, 2022

ink and paint marker on paper, 59 x 42 cm

routines #4 - © Paris Internationale
Aileen Murphy
routines #4, 2022

ink, marker, and paint marker on paper, 59 x 42 cm

Shannon Finnegan, *Crip Time*, installation view, MMK, Frankfurt, 2021 - © Paris Internationale

Shannon Finnegan, Crip Time, installation view, MMK, Frankfurt, 2021

Shannon Finnegan

Multidisciplinary artist Shannon Finnegan inserts interventions into exhibition spaces to focus on their accessibility. The works reflect their overarching practice and its focus on accessibility on both physical and digital spaces.

There are many places where no provisions seem to have been made for people and their basic physical needs, their tiredness and exhaustion, for example, within the white cube of the contemporary art world, in which furnishings themselves can become art. Finnegan shows that access can only be ensured where the ideology of a conforming, normative body is unlearned and spaces are reconceived on the basis of multiple needs. In this way, the act of sitting recalls the sit- in as a protest form, with its occupation of space suggesting the presence of political bodies who often remain invisible at the protest marches where participants are required to be mobile.
The day clocks “Have you ever fallen in love with a clock?” move so slowly that it’s hard to tell if they’re working at all. “What are the objects of disability culture?” Finnegan asks.

Shannon Finnegan (b. 1989, lives and works in New York, USA), graduated in 2011 at Carleton College, Northfield, MN. Some of their recent work includes “Anti-Stairs Club Lounge”, an ongoing project that gathers people together who share an aversion to stairs; “Alt-Text as Poetry”, a collaboration with Bojana Coklyat that explores the expressive potential of image description; and “Do You Want Us Here or Not”, a series of benches and cushions designed for exhibition spaces. They have done projects with Banff Centre, ARGOS Centre for Audiovisual Arts, the High Line, the Museum of Contemporary Art Denver, MMK Frankfurt, LUX, and Nook Gallery. In 2022, Deborah Schamoni presented their solo exhibition “Slower”. Their work has been supported by a 2018 Wynn Newhouse Award, a 2019 residency at Eyebeam, and a 2020 grant from Art Matters Foundation.

Deborah Schamoni - © Paris Internationale
Have you ever fallen in love with a clock? - Saturday - © Paris Internationale
Shannon Finnegan
Have you ever fallen in love with a clock? - Saturday, 2021

Day Clock mechanism, DiBond, clock hand, paint, ø 34 cm, Edition 2/3 + I AP

Do you want us here or not (MMK) - Chaise lounge 1 - © Paris Internationale
Shannon Finnegan
Do you want us here or not (MMK) - Chaise lounge 1, 2021

plywood, paint, foam, fabric, fabric paint, 110,5 x 190 x 68,5 cm

Do you want us here or not (MMK) - Chaise lounge 2 - © Paris Internationale
Shannon Finnegan
Do you want us here or not (MMK) - Chaise lounge 2, 2021

plywood, paint, foam, fabric, fabric paint, 110,5 x 190 x 68,5 cm

Do you want us here or not (MHR) - Bench - © Paris Internationale
Shannon Finnegan
Do you want us here or not (MHR) - Bench, 2021

plywood, paint, 90 x 186 x 70 cm

Do you want us here or not (MHR) - Chair - © Paris Internationale
Shannon Finnegan
Do you want us here or not (MHR) - Chair, 2021

plywood, paint, 89 x 64 x 69 cm

Shannon Finnegan, *Anti-Stairs Club Lounge*, 2019 - © Paris Internationale

Shannon Finnegan, Anti-Stairs Club Lounge, 2019

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