The show displays a variety of experience-based interpretations of our world with an equal claim of reality. The parallel existence of biomorph structures, transitory film montages, ambiguous textile work, bright flashes in the woods and other artistic points of view will make reality appear to be an extremely personal narrative. The works of "wirklich. wirklich." give variations of dream, deceit and objectivity.
No idyll. Nowhere. The art of Wiebke Bartsch is about the everyday, which is also reflected in the choice of materials. (...) But it is by no means an everyday art. When I first saw works by Wiebke Bartsch, I had to laugh - they are funny and playful (also literally: you want to touch her sculptures and play with them) without being dainty, they are child-like without ever getting childish. After she has captured us with laughter she leads us to the abysses of everday life. (...) Her works are not hermetical at all, but appear easily accessible at first sight: But those who really engage with her will have a different viewing angle onto everyday life afterwards. And yet and above all: Despite all the seriousnees Wiebke Bartsch's works provoke a sense of happiness, also because you can feel the pleasure of their production. (Wilhelm Werthern)
I reshape ordinary environments for the fixed point of view of the camera lens to circumvent a perceptual routine. Through subjective intervention the everyday shifts into a paranormal landscape. Using techniques of trompe l’oeil painting, I paint directly onto the surfaces of familiar objects and their surroundings to blur distinctions between foreground and background, paralleling the flatness of the final print. Paintbrush strokes, taped seams and wobbly edges are exposed in detailed focus, revealing the tactile process that goes into making the image. Resisting the perfection of digital manipulation, every discontinuity, error and flaw magnifies the precarious construction of pictorial space. Like a play within a play, each photograph references its own structure, parodying the inherent doubling of photography to expose the subtle deceptions that are intrinsic to the medium. The shallow surface of the print and fragmentation of a single frame are overstated to emphasize the boundaries of their encapsulation, while alluding to that which is excluded. In exploration of what is omitted, presence is depicted as a ghostly impression, escaping total capture.
Gertrud Neuhaus works with found materials, furniture, textiles, objects, goods and products from every-day usage. Drawing from this repertoire she creates mostly site-specific installations. The installations are walk-in images sophisticatedly elaborated with respect to form and colour that aim at a visitor who is moving within them, observing the interplay of recurring shapes and colours. Through subtle, often minimal manipulation of the objects the perception of both reality and the exhibition scenario is changed.
The titles of Eliane Paulino's image series indicate that she looks at her work as being related to biological processes: biomorphia, simulated evolution. She is often using material coming from the range of products made from plastics to conduct a sort of artistic creation parallel to nature and based on materials of our prosperous society. The various effects and interactions between the evolution biological models she draws from and her creations' life of their own elucidate that our relation to nature has become an artificial one. She induces organic behaviour and unexpected, almost natural formal varieties to the material that in the real world continues to play the role of probelmatic waste and makes living and dying "plastically" tangible in the literal sense.
Many works by Evariste Richer address familiar tools and instruments with standardized units or scales built to gauge our world. Unified data of longitude, space, weight, temperatures and processes in time make phenomena computable and comparable. All these conventions of standards and norms have been agreed upon based on various contexts in the past to garantuee a universally valid objectivity. In Richer's work, these conventions are subverted. He gives us a visual idea of the fact that the rational reality described by applied science have been developed on the basis of invented conventions and presentations.
The lunar meter has been calculated according to the methods of Delambre and Mechain’s system to define the standard meter in 1792, that is one meter is equal to one the millionth of the quarter of the length of the Paris meridian. This new meter takes as a reference of calculation the average length of a moon meridian.
“Translating The Blue” - A flim essay on art and science.
Based on images that were taken during an expedition in the South Atlantic the film explores different modes of approaching reality. Models, attempts of a translation - also and particularly a poetic one - are at the core of the film. The protagonist is the sea, the ocean. In its various appearances it is constantly present in image and sound.
A Journey within:
The search for the self is endless and the world within is cold and murky. During my journeys I am mostly lost. But once in a while I meet entities. They say they are me, a part of me. And you and everyone else.
Concept and Organisation: Horst Herz, Rona Rangsch, Maria Schleiner, Peter Schmieder, Jens Sundheim und Elly Valk-Verheijen
Images works ©: the artists
Photos opening ©: JS/Künstlerhaus Dortmund
Kindly supported by:
Kulturbüro Dortmund, Sparkasse Dortmund, DEW 21