Gerry Bibby (born 1977 in Melbourne, Australia). Recent solo exhibitions include The Artist’s Institute, New York, and The Horse’s Mouth, Silberkuppe, Berlin (2011); Untitled Red Brick, Institut im Glaspavillon, Berlin (2010). Selected group exhibitions and performances include Untitled (Making Room): Parallel Lines, Malmö Konsthall and Museum für Gegenwartskunst Basel (2010/2011); Dreaming is Nursed in Darkness, Gesellschaft für aktuelle Kunst, Bremen (2010); Scorpio’s Garden, Temporäre Kunsthalle, Berlin (2009).
The artistic production of Gerry Bibby is intention- ally difficult to pinpoint, but thereby plants its foot in yet unchartered territory. With his works that emerge through both self-consciously compli- cated and calculatingly precise sculptural gestures, borrowed but also self-composed texts, and elements of carefully choreographed and wildly haphazard performance, Bibby locates an inspiring and inventive redefinition of what one could call process—a process that knows no bounds and that is chock-full of playful subversions and strategic projections inscribed with complex cultural references.
The initial impulse for EXIT OPTIONS (I–VI), a work created especially for based in Berlin, is grounded in the situation at junctures like the very exhibition it was created for. Using a Robert Rauschenberg work from the Marx Collection as a point of departure (on view in another wing of the Hamburger Bahnhof), Bibby’s EXIT OPTIONS enable a departure from the primacy of reading the work as sculpture and more as a negotiation and performance of a problem. Meanwhile, the remnants of Bibby’s sculpture (re)convene in a forgotten garden at the rear of the museum—a sculptural
“option”, entitled Include Me Out, that becomes an alternative to be actively sought. SCW