FOR THE USE OF THOSE WHO SEE
22 Nov 2009 - 24 Jan 2010
FOR THE USE OF THOSE WHO SEE
22 November 2009 - 24 January 2010
Alphonse Allais, John Baldessari, Harun Farocki, Jean-Luc Godard, Alfredo Jaar, Sean Snyder, Nedko Solakov, Javier Téllez, Luc Tuymans, David Zink Yi
One hand holds an hourglass. The other holds a thermometer. The grains of sand fall as the temperature rises. Time/Temperature (1972–73) is a work by John Baldessari that makes time and temperature visible, solely through the use of measuring equipment. The work exposes and draws attention to the paradox inherent to this process, namely the impossibility of visualizing these non-visible parameters.
The exhibition FOR THE USE OF THOSE WHO SEE presents works that reveal the boundaries of the visual and display a firm belief in the image. The difference between mimesis and reality—inherent to every work of art—is foregrounded in the picture itself. The risk of failing at this point is deeply embedded in the consciousness of these works and yet is also convincingly depicted.
With kind support by the Ernst Schering Foundation and the Capital Cultural Fund, Berlin.
22 November 2009 - 24 January 2010
Alphonse Allais, John Baldessari, Harun Farocki, Jean-Luc Godard, Alfredo Jaar, Sean Snyder, Nedko Solakov, Javier Téllez, Luc Tuymans, David Zink Yi
One hand holds an hourglass. The other holds a thermometer. The grains of sand fall as the temperature rises. Time/Temperature (1972–73) is a work by John Baldessari that makes time and temperature visible, solely through the use of measuring equipment. The work exposes and draws attention to the paradox inherent to this process, namely the impossibility of visualizing these non-visible parameters.
The exhibition FOR THE USE OF THOSE WHO SEE presents works that reveal the boundaries of the visual and display a firm belief in the image. The difference between mimesis and reality—inherent to every work of art—is foregrounded in the picture itself. The risk of failing at this point is deeply embedded in the consciousness of these works and yet is also convincingly depicted.
With kind support by the Ernst Schering Foundation and the Capital Cultural Fund, Berlin.