Brennschluss
28 Apr - 16 Jun 2007
BRENNSCHLUSS
curated by Gyonata Bonvicini
Kaucyila Brooke, Marte Eknaes, Frank Hannon, Janice Kerbel, Davide Minuti, Sue Tompkins, Haegue Yang
28th April - 2nd June, 2007
Opening: Friday, April 27th 2007 7 pm
The German word Brennschluss (end of burning) is a technical term identifying the end of a rocket's ascent, when fuel is cut-off and it gives way to gravity. In that precise moment, the moving vehicle is frozen, in space; it becomes a timeless architecture, potentially open to every kind of possibilities. The temporary suspension of time and space transforms the rocket into a sort of relic which occupies a place between fact and fiction. Its aggressive nature is neutralized by a sense of elusiveness, a search for something that exists as much in the imagination as anywhere else.
Interpreting space as a gender-political issue and the experience of time as a series of gestures using a minimum of transformations, Brennschluss will include works that represent a wide range of aesthetic practices and that engage with surprisingly diverse concerns. All these artists seek connections between past and present, fact and fiction. They attempt to map not just the objective world but also our private worlds and trace the complex interaction between the two. The depiction of different locations is matched by dislocations in space and time: real places are layered with inner, psychic landscapes defined by our own desires and obsessions.
As a result, the lack of closure of the levels opened on every occasion can be explained by a nostalgia for the "freshness" of the debut, the phase of maximum potential openness. As long as a project is not concluded, it still possesses that freedom to begin again, the freedom of the first time. A project remains vital only if it is the result of perpetually new beginnings. One could characterize this artistic practice as a constructive interpretation of discarded things, which transforms old into new while also incorporating the process of transformation into the work. Each work forms layers of narrative upon the object, which combines form and function into a new entity. By distilling past, present and future into a unique temporality, this exhibition combines the duration of the works with the time of the spectator, providing them with a challenging sensorial experience. I n the final analysis, Brenschluss can be considered as an integrated system, not as a collection of works ordered according to a classification or composed in a static arrangement. Inside a network the identity of each project depends on the global character of the fabric of relations it manages to trigger; and all this implies a continuous process of transformation that can no longer be contained inside a stable category.
Gyonata Bonvicini
critic and independend curator, based in London.
With support from Leitner Personalmanagement At Work, the British Council, Wien- Kultur.
Fur further information please contact the gallery
curated by Gyonata Bonvicini
Kaucyila Brooke, Marte Eknaes, Frank Hannon, Janice Kerbel, Davide Minuti, Sue Tompkins, Haegue Yang
28th April - 2nd June, 2007
Opening: Friday, April 27th 2007 7 pm
The German word Brennschluss (end of burning) is a technical term identifying the end of a rocket's ascent, when fuel is cut-off and it gives way to gravity. In that precise moment, the moving vehicle is frozen, in space; it becomes a timeless architecture, potentially open to every kind of possibilities. The temporary suspension of time and space transforms the rocket into a sort of relic which occupies a place between fact and fiction. Its aggressive nature is neutralized by a sense of elusiveness, a search for something that exists as much in the imagination as anywhere else.
Interpreting space as a gender-political issue and the experience of time as a series of gestures using a minimum of transformations, Brennschluss will include works that represent a wide range of aesthetic practices and that engage with surprisingly diverse concerns. All these artists seek connections between past and present, fact and fiction. They attempt to map not just the objective world but also our private worlds and trace the complex interaction between the two. The depiction of different locations is matched by dislocations in space and time: real places are layered with inner, psychic landscapes defined by our own desires and obsessions.
As a result, the lack of closure of the levels opened on every occasion can be explained by a nostalgia for the "freshness" of the debut, the phase of maximum potential openness. As long as a project is not concluded, it still possesses that freedom to begin again, the freedom of the first time. A project remains vital only if it is the result of perpetually new beginnings. One could characterize this artistic practice as a constructive interpretation of discarded things, which transforms old into new while also incorporating the process of transformation into the work. Each work forms layers of narrative upon the object, which combines form and function into a new entity. By distilling past, present and future into a unique temporality, this exhibition combines the duration of the works with the time of the spectator, providing them with a challenging sensorial experience. I n the final analysis, Brenschluss can be considered as an integrated system, not as a collection of works ordered according to a classification or composed in a static arrangement. Inside a network the identity of each project depends on the global character of the fabric of relations it manages to trigger; and all this implies a continuous process of transformation that can no longer be contained inside a stable category.
Gyonata Bonvicini
critic and independend curator, based in London.
With support from Leitner Personalmanagement At Work, the British Council, Wien- Kultur.
Fur further information please contact the gallery