Andreas Huber

You are right it flows much better this way

29 Jun - 13 Sep 2012

you are right it flows much better this way - Galerie Andreas Huber, 29.6. - 28.7. & 4.9. - 13.9.2012, Vienna, Installation view (left: Søren Engsted, Untitled, 2012; right: Dan Rees, One Afternoon and Evening in Llanelli, An Ode to Cerith Wyn Evans, 2006)
Pierre Bismuth, Kaucyila Brooke, Josef Dabernig, Søren Engsted, Judith Hopf / Henrik Olesen, Man Ray, Dan Rees
29 June - 13 September 2012

The exhibition You are right it flows much better this way brings together artworks that refer to spaces, sites, and places, encouraging us to uncover the theme of “space” in the artworks.

The video “Türen,” (“Doors”) by Judith Hopf and Henrik Olesen, which was initially produced in 2007 for an exhibition at Portikus in Frankfurt, can be seen in the entrance area. The video is a reinterpretation of a sequence from Luis Buñuel’s film Le fantôme de la liberté (The Phantom of Liberty). Spaces that open in surprising ways, dialogues that make no sense to outsiders, and time and again policemen, but off duty. “There is action, but no advancing narrative.”[1]

The work “One Afternoon and Evening in Llanelli; An Ode to Cerith Wyn Evans” by Dan Rees shows 20 photographs of Llanelli, Cerith Wyn Evans’s place of birth. The artist sent the casual snapshots to Cerith Wyn Evans with the request to choose some of them for the artwork.

“Things that could be done by somebody else if somebody else is doing things like me” by Pierre Bismuth, which is placed opposite, can be read as a commentary on Dan Rees’s work.

In the first main room is a sculpture by Søren Engsted: the inner metal structure of a server, set up on a chunk of asphalt, and provided with the ingredients of human traces: nail polish, books. The last material object before information abandons a real location through the internet, a last link between the human being and the world of information. The possibility of transport, albeit materialized, is also reflected in the two spaces of Søren Engsted’s connecting sculptures. Two poles, commonly used in Vienna as a place to lock up bicycles, are reformed and welded to one another.

The photographs from the series “Proposal for a New Kunsthaus, not further developed” (2004) by Josef Dabernig shows places that thematize the virulent questions of contemporary museum architecture in the artist’s characteristically sarcastic manner.

In one of his last vintage photographs, Man Ray, who died in 1976, placed the wooden puppets Mr. & Mrs. Woodman, which had already appeared in 1927, in front of a television showing architecture in a foreign land. The characters have become tired, the gaze opened into the virtual space of television. The space nearest to us is the human body, where thought and visual seeing (memory, perception) are manifest.

Kaucyila Brooke presents images of articles of clothing worn by the New York underground author Kathy Acker. Without a body, as an antithesis, as a last projection space. All that remains is absence and loss.

[1] Nikola Dietrich, in Judith Hopf / Henrik Olesen, Türen, Exhibition catalogue, Portikus, Frankfurt am Main, 2007, 42

Tags: Pierre Bismuth, Kaucyila Brooke, Josef Dabernig, Nikola Dietrich, Nikola Dietrich, Cerith Wyn Evans, Judith Hopf, Henrik Olesen, Man Ray, Dan Rees