Dirk Krecker +oder+ DAG: disjunktion //

About

Current or no current – this seemingly simple logic of true and false, zero and one, conditions our intellectual and physical environment. As a model easily grasped, it takes just one more twist to make it anything but simple. Unblinkingly, we initiate search requests via Google, buy from vending machines, fret over malfunctioning computers, yet never understand how all that “digitality” is entirely determined by the operators “and”, ”or”, and “not” – according to the principles of disjunction almost any information can be connected, filtered, or excluded.

The random, wayward and circumstantial is an AND-operation for the works of Dirk Krecker and DAG. Here, repeatable grid structures, standardized color values, or the application of geometric basic elements conjoin with overheard words, the ephemeral of music, the quality of accidental everyday phenomena. It is not some logical declarative value what their works aim for - the interlinking of operations to form a continuously ongoing event is what it’s about here.

In the works by Dirk Krecker, complexity evolves within processes of writing-over and densification of materials and signs. The use of mechanical typewriters allows for the intermediate areas of signs superimposing one another, their accidental, spontaneously-mixed color values, the individual qualities of a seemingly anachronistic apparatus to enmesh into a continuum. Within the automatic juxtaposition of signs – the potential of which had been put to use by Kurt Schwitters already – a meta level evolves which persistently evades deciphering. His typewriter drawings are systemic entanglements, encoded variants of the science fiction genre, baroque proliferations and exaggerations which Krecker skims off the churning sea of signs.

A strongly contrasting chiaroscuro, fields of monochrome color, geometric shapes, lines and points – their symbol-like densification and the focus on ever-recurring elements DAG has made his trademark. He is interested in structures, shapes, and patterns that can be found in everyday life. DAG pours them, translated into abstract surrogates, onto the well area of his white canvases in recourse on his compositional intuition, and sets them into rotating motion. In DAG’s compositions, circles, triangles, rhombuses, and squares vie for attention with patterns, lines, and spirals. Seen from a distance, the canvases seem perfectly constructed tableaux initially. A close-up look reveals imperfections, brush traces, omissions, stains subverting the superficial and disclosing the painter’s trail.

The exhibition disjunktion // is the intersection of combination and connectivity. A riot of signs. Kool! Killer Kool! Re-looping-in feedback. Structure for all!