Zu wahr um schön zu sein
28 Jul - 13 Aug 2006
Lotte Lindner & Till Steinbrenner
The title of the show refers to the first ever produced oil painting by Till Steinbrenner: "Zu Wahr um Schön Zu Sein" (Too true to be good). It is a painting 160 x 120 cm in size, black paint on white ground with nothing but those words which gave the exhibition its name. Or else, with nothing but a black background whose cavities are forming those words.
This is the starting point of the exhibition, different ways of interpretation are possible. For some the title may say that everything is an embellished lie or that truth may be everywhere. When we try to put this expression in words though, we have to twist and turn it in order to understand. It produces the question who in fact is writing history and is history most friendly to those who write it?
Apart from the painting, Lindners and Steinbrenners exhibition is presenting an archetectural installation, dealing with the unfinished state of D21's space. It is an important aspect that this show is not taking place in a white cube situation. A performance by the artists opens the exhibition while the memory of the visitors will document it. Some eye witnessing visitors are being asked to interpret the performance while happening.
This exposure to language, memory and history will demonstrate that our recollection is often nothing more but a castle in the air.
The title of the show refers to the first ever produced oil painting by Till Steinbrenner: "Zu Wahr um Schön Zu Sein" (Too true to be good). It is a painting 160 x 120 cm in size, black paint on white ground with nothing but those words which gave the exhibition its name. Or else, with nothing but a black background whose cavities are forming those words.
This is the starting point of the exhibition, different ways of interpretation are possible. For some the title may say that everything is an embellished lie or that truth may be everywhere. When we try to put this expression in words though, we have to twist and turn it in order to understand. It produces the question who in fact is writing history and is history most friendly to those who write it?
Apart from the painting, Lindners and Steinbrenners exhibition is presenting an archetectural installation, dealing with the unfinished state of D21's space. It is an important aspect that this show is not taking place in a white cube situation. A performance by the artists opens the exhibition while the memory of the visitors will document it. Some eye witnessing visitors are being asked to interpret the performance while happening.
This exposure to language, memory and history will demonstrate that our recollection is often nothing more but a castle in the air.