Adrian Lohmüller
12 Nov - 17 Dec 2011
ADRIAN LOHMÜLLER
The Uncertainty Principle
12 November – 17 December, 2011
We are pleased to present the first solo exhibition with Adrian Lohmüller (*1977, Germany) in our gallery.
Adrian Lohmüller questions organisms operating in the shadows which, although invisible, are relied upon in daily life. Whether they are hidden behind facades or buried behind opaque layers, some of their essence always seeps through. The artist’s work often consists of home-made systems, which operate and perform processes. In its research or its visual references the work relates to analytical psychology. Adrian Lohmüller labels his installations “psycho-architectures”.
The title refers to the Heisenberg uncertainty principle, which states a fundamental limit on the accuracy with which certain pairs of physical properties of a particle cannot be simultaneously known. The more precisely one property is measured, the less precisely the other can be controlled, or determined.
This quantum physical behaviour offers a useful approximation to Adrian Lohmüller’s work, as he often begins with the superficial appearance of a system. The brain gets caught on this level and it is difficult to gain insight into the deeper layers. In principle, one only sees as much as the light of one’s own little torch permits. If one moves on, that which was initially perceived already recedes into darkness.
The exhibition itself is a subtlely arranged ensemble of objects, sculptures, materials and vessels. The central work The false-self system hangs directly under the ceiling and consists of a white tank from which two pipes protrude diagonally into the space, dripping water. One drips onto a heap of plaster, which will clump amorphously, the other into a glass containing a dental guard. This guard protects the teeth during intensive subconscious brain activity while asleep.
A fragile house assembled from playing cards, their fronts turned inward and sealed with black foam, is placed in the centre of an aluminium ring on the floor – a reference to the basic elements of architecture. Also part of the work is a light green, seemingly medicinal metal stand, with an attached chain from which dangle both a used and an unused earplug. By sealing the auditory canal we can shut ourselves off from the outside world, in order to sleep or to concentrate on mental processes.
A glass-shelf sculpture opens up the hermetic seal of the other objects. Its shelves suggest floor plans of a building and act as presentation platforms for dissolved and re-crystallised salt. The best analogy to architecture in these works is perhaps when one starts peeling off the little chips off woodchip wallpaper – a rather small intervention, but full of pleasure to gain insight into the construction of things. Furthermore, diverse wall objects and drawings will be presented, which show facets of the research.
This year, Adrian Lohmüller had a solo exhibition at Städtische Galerie Nordhorn in Germany. A large installation was on view at the festival Über Lebenskunst at Haus der Kulturen der Welt in Berlin, and until 20 November an installation is presented at 6a VentoSul – Bienal de Curitiba in Brazil. Furthermore, the artist is represented in the group exhibition Monument Valley at UFO presents in Berlin, which is still on view until 13 November. From 1–3 December he will participate in the festival Les Urbaines in Lausanne, Switzerland.
The Uncertainty Principle
12 November – 17 December, 2011
We are pleased to present the first solo exhibition with Adrian Lohmüller (*1977, Germany) in our gallery.
Adrian Lohmüller questions organisms operating in the shadows which, although invisible, are relied upon in daily life. Whether they are hidden behind facades or buried behind opaque layers, some of their essence always seeps through. The artist’s work often consists of home-made systems, which operate and perform processes. In its research or its visual references the work relates to analytical psychology. Adrian Lohmüller labels his installations “psycho-architectures”.
The title refers to the Heisenberg uncertainty principle, which states a fundamental limit on the accuracy with which certain pairs of physical properties of a particle cannot be simultaneously known. The more precisely one property is measured, the less precisely the other can be controlled, or determined.
This quantum physical behaviour offers a useful approximation to Adrian Lohmüller’s work, as he often begins with the superficial appearance of a system. The brain gets caught on this level and it is difficult to gain insight into the deeper layers. In principle, one only sees as much as the light of one’s own little torch permits. If one moves on, that which was initially perceived already recedes into darkness.
The exhibition itself is a subtlely arranged ensemble of objects, sculptures, materials and vessels. The central work The false-self system hangs directly under the ceiling and consists of a white tank from which two pipes protrude diagonally into the space, dripping water. One drips onto a heap of plaster, which will clump amorphously, the other into a glass containing a dental guard. This guard protects the teeth during intensive subconscious brain activity while asleep.
A fragile house assembled from playing cards, their fronts turned inward and sealed with black foam, is placed in the centre of an aluminium ring on the floor – a reference to the basic elements of architecture. Also part of the work is a light green, seemingly medicinal metal stand, with an attached chain from which dangle both a used and an unused earplug. By sealing the auditory canal we can shut ourselves off from the outside world, in order to sleep or to concentrate on mental processes.
A glass-shelf sculpture opens up the hermetic seal of the other objects. Its shelves suggest floor plans of a building and act as presentation platforms for dissolved and re-crystallised salt. The best analogy to architecture in these works is perhaps when one starts peeling off the little chips off woodchip wallpaper – a rather small intervention, but full of pleasure to gain insight into the construction of things. Furthermore, diverse wall objects and drawings will be presented, which show facets of the research.
This year, Adrian Lohmüller had a solo exhibition at Städtische Galerie Nordhorn in Germany. A large installation was on view at the festival Über Lebenskunst at Haus der Kulturen der Welt in Berlin, and until 20 November an installation is presented at 6a VentoSul – Bienal de Curitiba in Brazil. Furthermore, the artist is represented in the group exhibition Monument Valley at UFO presents in Berlin, which is still on view until 13 November. From 1–3 December he will participate in the festival Les Urbaines in Lausanne, Switzerland.