NELE KACZMAREK – SCULPTURE (52°33'25.17"N 13°23'15.98"E 45M A.S.L.) 2009/2014 (2014)
Nele KaczmarekSculpture (52°33'25.17"N 13°23'15.98"E 45m a.s.l.) 2009/2014
“Extension in general is not to be known; it is to move, to be moved. But in the being moved or being exposed to the union, in an inextricably single and double mode, two in one and one in two, the non knowledge of the self is known, which makes the self, moves sense, and makes sense —even the sense of knowledge itself— an emotion exposed, from the soul, to the whole body, and to the end of the world.”[1]
Navigating in unison, ladder and telescope are stretching towards the sky. Standing detached in space they are framed by preexisting architectural omissions and connected with the vital exterior of the artistic context. Freed from their original functionality through this subtle, almost casually executed entanglement, in their symbiotic relationship as ready-mades these objects lose their autonomy. By taking the telescope and the ladder out of their conventional contexts and placing them into a room as visual punctuation, the artist rejects the idea of fixed attributions, and emphasizes the permeability and surprising perceptiveness of the allegedly autonomous objects. With its high-rising shape “Sculpture (52°33'25.17"N 13°23'15.98"E 45m a.s.l.)” suggests vertical perspectives: It expresses complex spatial expansion —or immense temporal dilation— without losing its physical presence in the here and now. In this way, retinal, material, and body-bound layers of thought overlap in a conglomeration of simultaneous realities, which Swantje La Moutte’s incentive to invent “width as form”[2] specifies in a sensorial manner. In the complex divergent interplay between physical movements and spatial explorations, on mutual transgressions of her passion for dancing and for writing the artist delves into a sensitivity towards incidences of the infinite into life.
Intended as part of a numerically unlimited sequence, each sculpture’s exhibition location is topographically anchored in its title by means of coordinates. Making reference to the fundamentally momentary nature of perception, which never allows us to perceive anything identical, the slight variations of this work go through a repertoire of constellations involving the initial objects. The individual versions do not, however, refer to one original version; rather they coexist side by side, as equals expressing different possibilities, which circle around the same universal moment. Looking at the fragile balance of “Sculpture (52°33'25.17"N 13°23'15.98"E 45m a.s.l.)” triggers countless neuronal activities in the recipient’s brain. Stillness and movement inseparably fold into each other, while their binary dichotomy disappears in the awareness of their relative relationality: “Is there ever really an absolute absence of movement —beyond our idea thereof? Does stillness in comparison to precipitation necessarily imply a decelerating dynamic? (...) Answers remain questionable.”[2]
[1] Jean-Luc Nancy, “The extension of the soul” in: “Corpus”, Fordham University Press 2008, p.144
[2] Swantje La Moutte, e-mail to the author, May 23rd 2014