Timo Herbst & Marcus Nebe | Strong Feelings

About

Timo Herbst & Marcus Nebe
Strong Feelings

10 Sep - 2 Oct 2021


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Soft Opening Fri 10 Sep 2 - 9 pm

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Guided Tours and artist talk 
with Timo Herbst & Marcus Nebe 
Sat 11 Sep and Fri 17 Sep at 4 - 6 pm

Opening times
during Berlin Artweek:
Thu 16 Sep - Sun 19 Sep 2 - 9 pm

regular:
10 Sep - 2 Oct 2021

wed - sat 2  - 6 pm

Frontviews at HAUNT
first floor
Kluckstraße 23 A / yard
D - 10785 Berlin

Please wear a mask.

IG @frontviews_berlin
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with the essential support of Berliner Senatsverwaltung für Kultur und Europa, Deutscher Künstlerbund, Kunstfonds Dresden and Kulturstiftung des Freistaates Sachsen
 

Within their exhibition Strong Feelings the two artists Timo Herbst and Marcus Nebe present collaborative and individual works, a 5-channel video installation, drawings and interactive technology. The artists ask whether the current social atmosphere, which is shaped by the Covid pandemic, climate change and a weakening of democratic values, is accompanied by an emotionalisation of the associated discourse of imagery and actions. With their artworks Herbst and Nebe challenge the visitors to revise this.

Central for that is the almost entirely self-filmed 5-channel video installation Play by rules. Since 2015 the two artists have been accompanying the way international reporters and private individuals use (social) media to produce imagery of protests or state of emergencies, and how these image production also shapes the dynamics of the specific sites and situations. The video installation therefore depicts different purposes of image production, intentions, the self-staging of the specific protagonists and their ability to move (through crowds and police lines). At the same time the work accompanies the intensification of (private) social media use since 2015 worldwide and a shift in making use of media or react towards it (for example the attacks on journalists during the Covid pandemic in Germany).

This is expanded by a series of drawings in which Timo Herbst deals with the visual history of public dissent and creates new constellations. The drawing Ephemera for example refers to historical image products that were intended for a single or short-term use, such as images from daily newspapers, posters or advertising. Together with the historian Duane Corpis, he researched images of protests and state of emergencies within these medias in order to draw chains of bodies out of them. The chain presented in the exhibition shows not only a development in technologies, gestures and representation, but also a visual imprint or collective memory of those situations. This collective memory continues to shape public actions till today and thus remains present.

In the third room of the exhibition the relationship between image creation and reception is experienced from a different perspective. The 9-part video projection Shanghai Cables (Pt. 2) composes its image combinations based on the movements of the visitors in the exhibition space. By that the viewers receive an influence on the visualization of the gentrification in old town Shanghai. The viewers become part of the image process and can question his or her sympathy in influencing the visualization of events which is permanently in use in contemporary social media.