Dennis Feddersen . WARTEN AUF WUNDER
An installation made of welded light blue painted steel rods is the centerpiece of the exhibition. What appears to be, upon entering the showroom, virtually two dimensional and like a bundle of convoluted struts, unfolds into a third and even fourth dimension when looking at it more closely, creating passages and openings. Branching off, over and over again, from the main strand, which is divided into uneven sections through angles and kinks, are sidepieces, rising above the here and now. No final assumption can be made about its beginning or ending, and instead of displaying a linear flow, the seeking sculpture coils through time and space. The cool, geometrically constructed metal almost appears to be organic.
Feddersen has made the idea of the “lifeline” visible, making the material cater to its needs. The welds are not smoothened, but bear imperfections; via pluggable connectors the object can be disassembled and reconstructed anytime, but must be able to support itself, in order to carry itself. The installation, which the artist has intuitively let grown, remains restless, remains open to changes, never becomes immobile. The title utters what vibrates in the work: "Man zweifelt sich vorwärts" (You doubt yourself forward).
“Against all odds” is the framed print of a self-portrait, in which the artist cannot be seen. A man, almost nude and posing laconically, is semi-covered by a lump of clay that envelopes him, and on first sight even disfigures him. The material, making the face unrecognizable, appears to be of a crushing and suffocating nature, seems to have fallen out of the blue while blocking every view. A second, new face works its way through the material like constant dripping, fighting against the sluggish resistance.
The showroom is penetrated by the steady sound of the slide projector that shows images of the series “Warten auf Wunder” (Waiting for Miracles) on repeat. Through cell phone snapshots the artist captures moments in which, in a state of waiting, he is reduced to himself. Just like the slide that is only shown briefly, waiting is a state of transit that wants to go somewhere else and does not want to stay; at the same time, it gives a moment that is not labeled. Like the seams of the sculpture, in which the direction changes, waiting is the beginning and the end of a unit of meaning, a brief neutral point of the present, in which the past is being pondered on and the future is being planned.
In his newest works Feddersen extends the leitmotiv of the origin of identity and the exploring of the self. He comes closer without any formal rigor, and with a newfound naivety, consciously lets demands of intuition take charge of the modus operandi. Led by the immediacy of the moment and the haptic experience of the moldable material, the artist paraphrases the archaic, the unutterable, that what constitutes the core of one’s own person – with an open ending. The search still continues.
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