The quality of a new type of non-representational art work in this show lays in an explicitly subjective and “handmade” approach to surface, material and gesture. Abstract as it is in terms of the classical definition and thus mostly detached from nature and real objects, the main carrier of meaning derives from the way how structure, form and material is treated. At this very point the focus of artistic interest becomes inherent. Obvious parallels in choice, combination and treatment of form and material - next to actual acquaintances - designate the artists who are included as related to this aesthetic complex.
The works chosen are neither figurative nor illustrating. They are not documenting or directly commenting on social events or existing art work, nor do they simply follow rules of concept-art. They aren’t products of mass production and are not digitally generated. They are no copies, samples or adoptions.
It is the chosen material and its treatment that allows on few occasions for vague associations towards experiences and data that are located outside the object itself and thus open up ways of interpretation.
Here the intrusion, the moulding, the pressure, the layering, the cut, the rip, the perforation, the drilling and more is what offers outrageous and rewarding adventures.
The sensual presents of the paintings and objects, sometimes even the abuse of material grant the access to a wide field of experience to both observer and artist. In this case the unfinished, the unsuitable, the casual, the awkward doesn’t proof of missing skills. It neither puts it in opposition to art. We are not looking at some cool provisional and arrogant statement made for the art market.
No, the quality originates from a long internalised engagement with an allegedly incompleteness and thus allows for a slowly developed real languidness. The works consist of the failure, the fragile, the personal imprint and therefore the utterly human. If judged by traditional quality standards of art criticism they might be but a joke. Neo-liberal considerations would proof them dysfunctional. Still there are many artists who are concerned with these issues nowadays.
Is it still art?
At least from the beginning of so called „modern art“ art as a category has changed and amplified constantly. Nowadays a whole lot of definitions woven in a mash of theories only lead to rather approximate and dynamic conclusions of what art could possibly be. Refusing to act as a definition, it seems that art functions as an almost infinite pool of various ideas, working processes and objects at present. Negatively assessed some people suggest the category of art itself might be in a process of disintegration, but even in the modus of defence a discussion about ascertainable boarders seems obsolete. As for practical purposes the term “art” still facilitates the description of certain things.
In case of doubt an enlightening contemplation by Juliane Rebentisch may be given to the observer, who may, according to his own horizon of experience, then decide upon the issue himself:
“We will never be able to finally know art, but we can acknowledge its potency by getting involved in it again and again. This might be the reason why we are revisiting art works like old friends, why they are more to us than pure objects and why they allow us to be more and different in their presents than subjects simply owning objects.”*
Who made it?
Please ask the invigilator for a floorplan where you’ll find all works listed. The names of the artists, titles, techniques, sizes and years of origin of the works are included.
What is it, the artist wants to tell me?
It is the freely chosen purpose of the artists’ lives to create something with their hands and by means of their aesthetical education, that is of no practical use and can only rarely and in states of exception or in the aftermath be announced via verbally understandable messages. The works take over physical space, show aesthetic presents, but they are, especially in the case of this exhibition not subordinated under any officially known deciphering system.
Thus the artists don’t want to tell you something directly. All they want is to make these things and place them in a space. A broad reaction in society upon this mysteriousness is aimed for as the best case scenario.
What does it have to do with me?
We are sorry not to be able to answer your question. Please ask yourself why you reacted to our invitation and seek advice with a person you confide in.
Can I buy the work?
Yes, all art work is for sale. Please ask at the front desk for prices of your preferred piece.
*quoted: Juliane Rebentisch „Theorien zu Gegenwartskunst“ , S. 37, Junius Verlag GmbH, Hamburg, 2013