In the exhibition MATCH:ENDLICHKEIT, the artists Anna-Maria Bogner and Siniša Kandić question the principles of visual perception. Their works challenge us to break through the established traditions of seeing and to explore the complexity of our perception of space. In doing so, they cleverly play with the limits and possibilities of our sensory impressions, thus opening up a view of the unseen dimensions of space and the transformation of pictorial spaces into spatial images.
Their exhibition is accompanied by performances by Abramović students Eleonora Arnold, Gloria Carobini, Camillo Guthmann, Anna Veronika Hargitai and Julian Mattlinger. With their performative presentations, they continue the exploration of the boundaries of perception and expand the spectrum of the exhibition.
Our society is defined by rationality. For a person trying to adapt his environment to his needs, purposeful action is essential. We design our actions to help us achieve goals we’ve set for ourselves: our actions thus serve a purpose. We assume an intent behind every action, a cause behind every effect and behind every entity. Daily life offers confirmation that reason is our sharpest and most precious tool. It underlies many of our decisions. At the same time, it marks the boundaries of the world we inhabit: for if rationality is an intrinsic principle of our thoughts and actions, then it’s not something we can escape or go beyond. Rationality constitutes a border between ourselves and entities that are potentially limitless. We need these borders, and we construct further ones in order to be able to take the measure of real and social spaces in all their dimensions. Even when referring to the infinite, we almost always look to images in an attempt to make graphic the unfathomable. But even these mental visualizations can do nothing more than point toward infinity. It’s therefore not a matter of crossing boundaries but rather of recognizing them and thereby sneaking a peek at the other side. Just as a color vision test doesn’t aim to teach the tested person what color vision is, but rather to help her recognize the possibilities and limits of her own perception, these works play with the limits and possibilities of spatial perception. What spaces do I move in? What constitutes them? What spaces open and which close to me through the way I situate myself in space? What decisions underlie my perception of space? With a theoretically unlimited range of possible decisions, our actions too are always a reminder of boundaries and the entities that lie beyond them. Space is just a conceptually comprehensible infinity.
The artistic endeavours of Siniša Kandić are rooted in his exploration of optical perception and its manipulation. His works are at the centre of an exploration that challenges the limits of our perception and encourages us to reflect on the nature of images and their meaning. For the exhibition MATCH:ENDLICHKEIT, Kandić has specially conceived three cycles of works, which he presents as an ensemble.
In these works, he creates a dynamic suspended state of the image in his "showcases" and points to a fundamentally changed paradigm in relation to the key metaphor for what an image is. Instead of following illusionism, he opens up the strict geometry of painting through two layers of glass, creating completely new pictorial spaces. The outside space, the viewer and the graphic pictorial elements merge in the reflection of the glass pane into a fascinating interplay that eludes a definitive view and instead promotes a dynamic pictorial development. In this way, pictorial spaces become spatial images.
The series Zeitungslektüre deals with the "image from the newspaper". By using different image-making processes, the artist leads to unexpected image deconstructions that often go to the limit of making the original image unrecognisable and beyond. This creates a completely new image in which Kandić creates a mental space for the viewer.
In his quest to find a code in the originally analogue principle of painting, Kandić reduces his painting material to the most commonplace: coffee powder. By alienating a photographic template using this unconventional medium, he succeeds in creating an indexical process. The coffee powder serves as a pigment and is applied to the wall over a large area, resulting in the pictorial motif of trickling coffee pixels. This representation raises questions about the immanence of the image and the memory of the creator and reveals a fascinating dimension of art.
For Eleonora Arnold, photography is a point of reference from which she initially distances herself, only to return to it from a different direction. The artist works away at established techniques, modes of use and visual worlds by deliberately dealing with them improperly or bringing them into new contexts. The resulting photographs, objects or performative situations are often both conceptual and playful. Space, time and movement as fundamental phenomena become the subject themselves.
Gloria Carobini's career as a ballet dancer has led her to collaborate with renowned companies, including the "Ermitage - Visual and Performing Arts" company directed by Paolo Londi and the "Sticky Trace Company". In these collaborations, especially in the productions "FRENZY" and "RESIDUALS", which she realised in cooperation with Tanz.nord, she shows her dancing talent.
Her artistic diversity is reflected in her musical past, where she plays the trumpet, guitar and mandolin. Carobini increasingly focuses on interdisciplinary work with renowned artists such as Marina Abramović and Billy Zhao.
Her artistic work is a testament to her ability to bring art to life in multiple forms and demonstrably demonstrates her potential in contemporary dance.
Camillo Guthmann's artistic career begins with profound influences from the world of interdisciplinary theatre. His roots lie equally in music, spoken theatre and dance, with body, expression and text at the centre of his attention. A crucial aspect of his artistic development is his ability to fit into an overarching concept within an ensemble without sacrificing his own individual expression.
Guthmann has a particular interest in the seamless transitions between prepared acting and authentic encounters, between performer and audience. Both the stage of the theatre and the public space without fixed seating, clear rules and unpredictable outbursts fascinate him equally. In his projects he experiments with the presentation of socio-critical themes, often in collaboration with other artists and under external direction.
Another focus of his work is the use of media, especially in the cinematic field, whether in front of the camera, behind the camera or in the editing lab.
Camillo Guthmann's artistic path is characterised by a versatile and profound engagement with the facets of theatre, performance and media art.
Anna Veronika Hargitai acts, sings and composes for her own projects and performances and is active as a lyricist.
After studying liberal arts at ELTE University (Budapest), she earned a degree in jazz singing at the Béla Bartók Conservatory (Budapest) and has since been studying "Jazz Performing Artist" at the Folkwang University of the Arts in Essen. She performs in theatres (Orlai prod. Company, Golem Theatre), gives concerts and is an active guest artist at various venues and festivals (Lumen, POSZT, Pontoon, Müpa etc.). In 2021 she won the soloist prize at the Domicil Promotional Prize Competition, as well as third place with her duo in the overall competition. She is one of the 24 selected participants of the Free Interdisciplinary Performance Lab under the direction of Marina Abramović.
Julian Mattlinger is a transdisciplinary artist and musician. Having a background in classical piano (Freiburg University of Music, 2020), he currently studies voice at the Folkwang University of the Arts in Essen. Due to his work as a performer of contemporary music, his interest has broadened to encompass other art forms, such as performance art, installation art, plastic art and their interfaces, which he incorporates into his artistic practice, having studied with Prof. Marina Abramović. In 2023, his work was shown at the Museum Folkwang and he performed at venues like Tanzhaus NRW or Tanzfaktur Köln, collaborating with choreographer Ben J. Riepe and composer Bára Gísladóttir.
9 December 2023 - 21 January 2024
Friday, 8 December, 7 pm
With performances from
Anna Veronika Hargitai
Saturday, 16 December, 4 pm
Saturday, 6 January, 4 pm
Saturday, 13 January, 4 pm
Friday, 8 December, 7 pm
Saturday, 16 December, 5 pm
Saturday, 6 January, 5 pm
Saturday, 13 January, 5 pm
Sunday, 21 January, 5 pm
Sunday, 21 January, 5 p,
Dr. Pia Wojtys
Images works: © die Künstler:innen
Title graphic: © Viola Dessin
Kindly supported by: Kulturbüro Dortmund, Sparkasse Dortmund, Bergmann Brauerei GmbH
From 18 December 2023 to 3 January 2024 the Künstlerhaus will be closed.
The exhibition will be open again from 4 January 2024.