Henning Fehr / Philipp Rühr
Unsere Herkunft haben wir uns selbst ausgedacht
09 Sep - 15 Oct 2016
HENNING FEHR / PHILIPP RÜHR
Unsere Herkunft haben wir uns selbst ausgedacht
9 September – 15 October 2016
Curated by Susanne Titz
A movie like a stream of consciousness: a class of the Kunstakademie Düsseldorf, discussing the (im)possibility of resistance or revolution, talking, pausing, your own professor, Christopher Williams, at the Vienna Secession, Chinese students in Duisburg, the Chinese president’s motorcade in Duisburg, works of former colleagues at the Art Cologne 2014.
The Production Line of Happiness: A title by Christopher Williams (The Production Line of Happiness, 2014) becomes an interrogative clause, an inner eye and ear, prompting the observer to think about what is produced and about what happiness is.
In a further step, the work revolves around techno and the history of the culture of the outside, festival production, the esthetics of escapism and desire in late capitalism since the Beatniks, Monterey and Land Art. Fehr and Rühr who are not sculptors but filmmakers had objects reconstructed, which were the creation of others. They present the beauty and happiness of sculptures at festivals, sculptures that are made by artists, construction managers, professionals and fantasy fans, anonymously or in groups, of shortlived existence and bound for destruction either by recycling or burning (Burning Man, Nevada). It is Festival Art, previously called Folk Art.
The titles originate from a list of exceptional human experiences (http://www.ehe.org/display/ehe-pagedc08.html?ID=3), the branded phrases from the book “Idols of the Tribe. Group Identity and Political Change” by Harold R. Isaacs, the geometric shapes from mathematical systems whose idealist aesthetics probably also mean social structures and individual psychological processes.
Times, spaces and places are caught in a slur. In the film sound and image shift. In the objects formal languages shift. It’s about longing motives, promises of happiness.
The position of this work process is both inside and outside. It refers to what motivates. Thus, of any possible origin, which is both fractal and mono, reality and construction.
Unsere Herkunft haben wir uns selbst ausgedacht
9 September – 15 October 2016
Curated by Susanne Titz
A movie like a stream of consciousness: a class of the Kunstakademie Düsseldorf, discussing the (im)possibility of resistance or revolution, talking, pausing, your own professor, Christopher Williams, at the Vienna Secession, Chinese students in Duisburg, the Chinese president’s motorcade in Duisburg, works of former colleagues at the Art Cologne 2014.
The Production Line of Happiness: A title by Christopher Williams (The Production Line of Happiness, 2014) becomes an interrogative clause, an inner eye and ear, prompting the observer to think about what is produced and about what happiness is.
In a further step, the work revolves around techno and the history of the culture of the outside, festival production, the esthetics of escapism and desire in late capitalism since the Beatniks, Monterey and Land Art. Fehr and Rühr who are not sculptors but filmmakers had objects reconstructed, which were the creation of others. They present the beauty and happiness of sculptures at festivals, sculptures that are made by artists, construction managers, professionals and fantasy fans, anonymously or in groups, of shortlived existence and bound for destruction either by recycling or burning (Burning Man, Nevada). It is Festival Art, previously called Folk Art.
The titles originate from a list of exceptional human experiences (http://www.ehe.org/display/ehe-pagedc08.html?ID=3), the branded phrases from the book “Idols of the Tribe. Group Identity and Political Change” by Harold R. Isaacs, the geometric shapes from mathematical systems whose idealist aesthetics probably also mean social structures and individual psychological processes.
Times, spaces and places are caught in a slur. In the film sound and image shift. In the objects formal languages shift. It’s about longing motives, promises of happiness.
The position of this work process is both inside and outside. It refers to what motivates. Thus, of any possible origin, which is both fractal and mono, reality and construction.