20 Apr 2018 - 20 May 2018

The Object Before

Vernissage: 20 Apr 2018 @ 19:00

Sometimes it takes an action to make a thought perceptible. Sometimes a thought is just a reaction stirred up by an encounter. Works of art are artifice as well as building blocks of a metalanguage, representative of something that cannot be put into words, the seeing of which, however, engenders immediate apprehension: experiences and ideas are promptly passed from creator to receiver.

One can think of the astonishing transfiguration of the "eye-cup" (kylix), raised towards the lips in order to drink from, that becomes a mask on the face of its bearer.

"The Object Before" is an exhibition providing a framework for a conversation between five artists. The seemingly erroneous formulation of the show’s title refers to the different issues it questions.

 

Marie von Heyl, “The Alien Object Manifesto”, 2016

Building on the tradition of artist manifestos, this video employs the many-voiced pronoun WE to express thoughts about subject-object relationships, and gives a valiant defence of the commodity against the return of the hand-made.

Sunette Viljoen, “magazine pages”, 2018

“magazine pages” is reminiscent of text erasures. Instead of words, almost a whole image is removed, being delicately sanded down and leaving only a few fragments which drift on the paper's whiteness, like islands - alien to the new surroundings. The image appears to be erased, when in fact all the information (dust of ink and paper) is altered and relocated on the facing sheet.

Ilona Kálnoky, “SkulptUR”, 2008, Bronze, ca. 100cm; “SkulptUR”, 2007, Aluminium, 6x6cm + 10x6cm

For Ilona Kálnoky each material has its own semiotics, therefore the inner dynamics inside it imposes undulations, vibrations or persistences that shape the organic body of matter. Kálnoky's gained knowledge of material and her tenacious practice with it seem to become invisible in the final stage of her sculptures which give rather the impression of being shaped by natural collisions and time shift. Her sculptures could  also be called unpredictable calculations.

Sally Osborn, "Compressed Form Grey", 2014, 1230 x 10mm; "Compressed Form Pink", 2014, 1000 x 250mm; "Compressed Form Black", 2018, 400 x 400mm, Ceramic.

Sally Osborn’s unglazed fired ceramics provisionally stand or lean against the wall. Their form is without beginning and without end. Not quite symbol not quite sign.

Małgorzata ET BER Warlikowska, “Dump Dreams"

The "Pictomen" are three dimensional pictograms (porcelain), covered with a variety of notes (serigraphy) from inspirations, projects, to-do-lists, and dreams. These reliefs are of a diary character, uncensored, filled with wording that comes from a monologue's unconscious stream. “Dump Dreams” was inspired from the Jungian Archetype concept, the interconnection of humans regardless from time, place, as well as their collective unconsciousness.

Image: "The Alien Object Manifesto", 2016, © Marie von Heyl