26 Apr

(*Too long, did not understand.)

Either I just succumbed to some kind of reading disorder, or the reliably daft e-artnow list has delivered another payload of grade-A twaddle. I’ll make some allowances for Bildfrost (“Frozenness”) being an exhibition at a German gallery, but on the other hand although I’m pretty confident that I speak German I’d still want to run my German press release past somebody who was a native speaker to make sure I wasn’t making ein Arsch of myself.

I’ll just pull out the silliest phrases and paragraphs at random from what is quite a lengthy screed, but trust me: it all makes about as much sense out of context as it does in context, i.e. virtually none. There’s also a lot of telling us what we’d be able to see with our eyes if we could see the art, which is redundant, patronising and controlling if we intend to see the art and usually baffling if we can’t see the art and probably never will.

BILDFROST (“Frozenness”)

“Initially, the picture seals itself off from the interpretation of any impression. An oscillating flurry emits from the center that steers the anticipation of a disappearing space into darkness. At the same time, it becomes clear that the fabric of colors is the result of picturesque grid structures. Has large pixilated photography been translated into painting or is the painting imitating a print? The understanding of the romantic image remains a wanting. The work resists any outsider’s demand to understand and requires an active positioning of the viewer. A motive between figurative speech and reflections on media.”

“The interventions are disturbing since they break our perception with dichotomies. Where there’s air, there’s no water and where there’s no water, there’s no fish. At the same time, the interventions also have a liberating effect. In breaking with fundamental constants there’s not only a destructive character but also an ironic commentary: the creation of illogical alternatives to known contradictions.”

“Occupied with the architecture of the work, one overlooks the absence of meaningful use…  On the one hand, one would like to be the actor in this juggling game with its bubbling possibilities, but on the other, the realization that the diversity of possibilities offers nothing sets in, such that our own inadequacy fails them.”

“Like human skin, the canvas seems to sense the quality of the touch of the colors in its single cells. The hue of the painting thereby resembles a coat: in order to face up to the world, it protects against every cold and dampness and at the same time keeps inner warmth. The hue shows something of the affective mood in which the world meets us and with which we record it in us.”

“Do forms want to become ornaments here or are lines fighting themselves in a kind of game of contact and repression? The painting itself does not give the answer.”

“It brings the fleeting to view and translates it into a permanence of the picture through painting. At the same time, the painting encompasses its own riddle. It is concerned with three-dimensional reality in a two-dimensional format… Are we stable or fleeting, is the surface a boundary or an opening to something else?”



NB: The art world would be a much better place if this was an image from the exhibition under discussion, but I’m afraid it isn’t.

2 Responses to “TLDNU*”

  1. Alistair 03/05/2013 at 12:51 PM #

    Reblogged this on Alistair Gentry.



    […] My original discussion of the “Oscillating” text is here: TLDNU*. […]

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