Joscha Blankenburg, Carla Diestelhorst, Timo Grimm, Franz Helffenstein, Christian Kempel, Paula Loeding, Magdalena Los, Elisabeth Moch, Leonie Rottmann, Simon Schete, Pablo Schlumberger, Timon Schmolling, Lukas Schneider, Julia Storz, Daniel Vier, Carlos
At news of the world space, 19 artists from Hamburg (Hfbk-Hamburg, Werner Büttner/Markus Vater Klasse) create, in a poetic and concrete way, a space that is not there: the garage.
Paintings that grow out of the darkness of an abandoned space, oil smell, collages of pinup photography associated with mechanics, fast cars, broken toys, expensive bike, dirt and sawdust, the roaming barn of free-range masculinity;
Music sessions, amateur rehearsals, homemade inventions and pioneering experiments, the high tech start-up lab, the first step to going global perhaps;
I like it that my garage doesn't have a window. It is well insulated and well secured. What I keep here is nobody’s business. In my garage it is September
all year. Of the eight garages mine is the fourth one. I wouldn't like to swap it. Basically they are all the same, but I like mine best.
What meaning can the garage have in one’s life? A nostalgic place, a place of memories, strange findings, sinister secrets. Domestic storage and post-surrealist assemblage of stuff for which there’s no room elsewhere. A house for a car; the architectural space of the modern age which architecture forgot. Suburban life, boredom, passion, playground and carbon monoxide suicides.
Equal goes it loose, the title given by the artists to the exhibition, is the example often used of a typical “Lübke English” phrase. “Lübke English” refers to nonsensical English sentences created through a word-by-word translation of German expressions, without mediation and with no regard for syntax, cultural or linguistic context.
‘Equal goes it loose’ is the mistranslation of the German expression which means…’Soon it will start’… a possible reference to the function of the garage and at the same time the situation of the artists involved.
Other literal translations are also at play: the amalgamation of autonomous artworks under the “garage” theme and their decoding provided by this text; the equivalence of the exhibition space –or for that matter, the artist studio- as the “garage” of the creative urban class; the resort to art production as a universal pidgin language.
But the title issues a warning against any automatic interpretations and suggests other keys to the viewer: try poetry, nonsense, naivety, intuition!
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