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Memory.
Works by Kyung-Hwa Choi-Ahoi, Nana Bastrup & Matvey Slavin, Fabian Hesse, Thomas Kälberloh, Cris P
November 27, 2015 - January 31, 2016
Memory arises from the recollection of past events that become present again in one's mind. Thomas Kälberloh's series Small Idyll revolves around old postcards, one of the most popular media of recollection. The artist obliterates areas of the images by superimposing layers of paint or collage upon these, recalling clichés of his own memories, and translating these ironically into new idylls. In the diary of the Korean artist Kyung-Hwa Choi-Ahoi, known for her delicate, surreal pencil drawings, memory can be read as a collection of creative impulses that may proceed from phenomena as diverse as a leaf, a ray of sun, or the encounter with another person. Among the further works on paper dedicated to the topic of memory are the Laufbilder (Motion Pictures) created by the artist duo Nana Bastrup & Matvey Slavin. The artists apply sketched figures, which are dynamically interconnected with the background through colorfully shaded incisions and cutouts, on photographs of their own exhibitions and performances, including their most recent solo exhibition in the gallery space. The Munich-based artist Fabian Hesse, in turn, gives palpable shape to virtual data records and computer programs via 3D printouts. Regardless of the fascination with the possibilities of technology, his chief concerns are the senselessness and dangerousness of 'total recall'. The omnipresent mental dimension of memory is equally intangible, a theme which the Majorca-based artist Cris Pink investigates in her expressive, gestural paintings.
GALERIE HENGEVOSS-DÜRKOP
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ENGLISH VERSION
Ooze
produced by Fabian Hesse & uuas
with a text by Rózsa Farkas & Sebastian Stein
108 pages
978-3-945337-02-8
cc 2015
#dataclasm #additivism #artificialintuition #nofuture #survival #glitch #digitalcapitalism #everyday #labour #3DPrinting #whatistobedone #artworld
Ooze is the mud, the sludge and the slurry in which we are all stuck, but with which we also like to struggle and in which we like to nuzzle: 3d-waste, theory bricks, music videos, shots of lonely art installations, screens, printers, artificial intuition, more material, fragments of text, (real) memories, noise, new discoveries, more and more technology gadgets and more or less spectacular effects, pages of books and magazines, different fonts, anderer Kram (stuff).
There is so much junk. what to really look at, what to ignore? (as best one can)
As someone smart did write lately, for some time now already people experience their lives less and less as a coherent story, because there are too many impressions, information and variation that impact on them all the time, as that one could infer a meaningful narrative from them. The principle All I do is flex – I don't need a reason is everywhere. Plus: everyone knows that this poses a problem, too.
Ooze does rather add even more confusion to this. While the whole sludge out of artworld, life, and techology is diluted, rolled around and splashed together once again, there is also some sifting and attempts to construct one or two little mudcastles. Their little towers are decorated with little flags on which one can read phrases like this: technology and our lives, survival in the artworld, labour in digital capitalism, how to live differently, what can art do, why am I doing all this?
The book has been produced jointly by Fabian Hesse and uuas. The text has been written by Rózsa Farkas and Sebastian Stein with the help of a google doc, around 30 emails and two skype sessions between London and Munich in june and july 2014. Druckerei Walch in Augsburg printed it. The BBK Munich gave the money to do it.
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