Thomas Schroeren
28 Mar - 24 Apr 2009
© Thomas Schroeren
"First Vision"/ "Erste Vision", 2009
wood, metal, paint, varnish, glass, acrylic glass, mirror, print
235 x 300 x 240 cm
Detail
"First Vision"/ "Erste Vision", 2009
wood, metal, paint, varnish, glass, acrylic glass, mirror, print
235 x 300 x 240 cm
Detail
THOMAS SCHROEREN
"Jetzt kaufe ich mir Freizeit"
Now I‘ll buy me some spare time
Opening on Friday, March 27, 19h
Exhibition March 28 - April 24 2009
Too much emotion
This exhibition, the word literally taken, is a haze. The mathematic nature of things meets with our lyrical reception of the world. Both aspects are in conflict with each other and are put together by us human beings day by day and in every art piece anew. It may be the struggle between feeling and intellect, Nature and Man, or even logical reasoning against all spiritual. In the hope that parts of the one are found in the others, and reconciled amicably, could be read the everlasting wish of Mankind: to take up their place in Creation in a way that makes sense.
The obvious object-character of the works marks a confession that everything outside the human being is understood as potentially lyrical or seen in contact; as concentrated nature in the form of an artwork. Man and thing, both partners, should step upon stage on an equal footing, to the place that at the same time conditions and embodies being. Inheriting one difference: the thing itself refuses to be seen as an object, rather as lyric alive. Independently acting Poetry. Like mostly, the titles are there to open the heart of the beholder to let not be unheard the so often denied message of nature. Having said that, the dialectic of one person lies opposite towards many and many others. What it speaks of is only the wish of Man to accept themselves and their nature as it is, or to regulate it, given that art is the most conciliatory of these attempts. The most familiar too. The truth, or love, thus doesn’t lie in each of them in equal measure, but in the encounter of both partners, Nature and Man. It then offers the always unknown component. The third, the unknown, which results from the meeting of the two.
The more humble or willing the convergence of Nature and Man, the bigger is the invitation to face her pure hearted. But so much more prolific too, in the case of success, to unify and to encounter together and beholden the next: everything beyond.
Thomas Schroeren
You might add:
Essential to the rapprochement of Man and Nature is the notion of time.
First of all, it‘s the time we apply and use. How do we schedule the day? How do we sense time that is at all ours disposal with the precision of a clock and how are using it? This time is decreasing in numbers and therefore expensive. In this regard, ‘Freizeit’ (the German term for spare time) is always understood as something rewarding. It serves recreational purposes, and as such it is un-freely functionalised in the obligation towards its Gemini ‘Labour’. So, let us follow up again on Nature and one of its rather relentless messages. It‘s dark and cold in the forest. We aren’t moaning, instead we build ourselves houses and streets and states.
Second, there’s time understood as history, the “mysterious workplace of God” (Goethe), where one single event can have consequences for decades - no matter whether it’s internal or outer events. It is a safe fact that this gains in scale over the years.
The first shape of time is connected to the second in the way that the latter makes us smarter and hopefully more responsible about our tools, and in turn is formed by the first. If now logic (the nature of an object in aggregate form) and lyric (what was dreamed) meet, it is a moment of inspiration that incidentally fascinates us because it joins both concepts together and thereby dissolves the calculation of the first.
Sandra Bürgel
"Jetzt kaufe ich mir Freizeit"
Now I‘ll buy me some spare time
Opening on Friday, March 27, 19h
Exhibition March 28 - April 24 2009
Too much emotion
This exhibition, the word literally taken, is a haze. The mathematic nature of things meets with our lyrical reception of the world. Both aspects are in conflict with each other and are put together by us human beings day by day and in every art piece anew. It may be the struggle between feeling and intellect, Nature and Man, or even logical reasoning against all spiritual. In the hope that parts of the one are found in the others, and reconciled amicably, could be read the everlasting wish of Mankind: to take up their place in Creation in a way that makes sense.
The obvious object-character of the works marks a confession that everything outside the human being is understood as potentially lyrical or seen in contact; as concentrated nature in the form of an artwork. Man and thing, both partners, should step upon stage on an equal footing, to the place that at the same time conditions and embodies being. Inheriting one difference: the thing itself refuses to be seen as an object, rather as lyric alive. Independently acting Poetry. Like mostly, the titles are there to open the heart of the beholder to let not be unheard the so often denied message of nature. Having said that, the dialectic of one person lies opposite towards many and many others. What it speaks of is only the wish of Man to accept themselves and their nature as it is, or to regulate it, given that art is the most conciliatory of these attempts. The most familiar too. The truth, or love, thus doesn’t lie in each of them in equal measure, but in the encounter of both partners, Nature and Man. It then offers the always unknown component. The third, the unknown, which results from the meeting of the two.
The more humble or willing the convergence of Nature and Man, the bigger is the invitation to face her pure hearted. But so much more prolific too, in the case of success, to unify and to encounter together and beholden the next: everything beyond.
Thomas Schroeren
You might add:
Essential to the rapprochement of Man and Nature is the notion of time.
First of all, it‘s the time we apply and use. How do we schedule the day? How do we sense time that is at all ours disposal with the precision of a clock and how are using it? This time is decreasing in numbers and therefore expensive. In this regard, ‘Freizeit’ (the German term for spare time) is always understood as something rewarding. It serves recreational purposes, and as such it is un-freely functionalised in the obligation towards its Gemini ‘Labour’. So, let us follow up again on Nature and one of its rather relentless messages. It‘s dark and cold in the forest. We aren’t moaning, instead we build ourselves houses and streets and states.
Second, there’s time understood as history, the “mysterious workplace of God” (Goethe), where one single event can have consequences for decades - no matter whether it’s internal or outer events. It is a safe fact that this gains in scale over the years.
The first shape of time is connected to the second in the way that the latter makes us smarter and hopefully more responsible about our tools, and in turn is formed by the first. If now logic (the nature of an object in aggregate form) and lyric (what was dreamed) meet, it is a moment of inspiration that incidentally fascinates us because it joins both concepts together and thereby dissolves the calculation of the first.
Sandra Bürgel