(Image) Kandis Williams, The Oratory Command: X Carmichael King Hampton, 2016 Courtesy the artist / Heidi, Berlin, and Hubert Winter, Vienna
more detailed informations here: Audio (5:19 min.) Text by Sophia Yvette Schere
Gestures, symbols, and structures shape our collective memory - but what happens when they are manipulated or emptied of meaning? The works displayed in the transitional space between the galleries question the conditions that shape our perception of reality.
Kai Althoff's works resist clear interpretations: the textile collage Immo (2004), made of transparent fabric panels, papers, and photos, creates an ambivalent tension between constructions and deconstruction.
Wisrah C. V. da R. Celestino's works are characterized by a critical examination of existing systems: Pigs (2022) assembles piggy banks whose bottoms have been removed. Stripped of their function of storing money, they prompt reflection on what money means when it loses its physical form.
In Cildo Meireles'Fontes (2016), this disruption of order is echoed, as the numbers of a wall clock appear to have fallen to the floor - the familiar rhythm is suspended, and time lies in chaos. Another example if the manipulation of signs is found in the work of Kandis Williams. In the Oratory Command: X Carmichael King Hampton (2016), she collages the hands of Black activists. These hands interlock, multiplied like protests that persist through time and media.
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Cildo Meireles, Fontes,2016
© Cildo Meireles, Courtesy of Luisa Strina
Wisrah C. V. da R. Celestino, Pigs, 2022
© Wisrah C. V. da R. Celestino; Courtesy: Private Collection, Roger Rohrbach
Kai Althoff, Immo, 2004
© Kai Althoff
(Image) Kandis Williams, The Oratory Command: X Carmichael King Hampton, 2016
Courtesy the artist / Heidi, Berlin, and Hubert Winter, Vienna
more detailed informations here: Audio (5:19 min.)
Text by Sophia Yvette Schere
Gestures, symbols, and structures shape our collective memory - but what happens when they are manipulated or emptied of meaning? The works displayed in the transitional space between the galleries question the conditions that shape our perception of reality.
Kai Althoff's works resist clear interpretations: the textile collage Immo (2004), made of transparent fabric panels, papers, and photos, creates an ambivalent tension between constructions and deconstruction.
Wisrah C. V. da R. Celestino's works are characterized by a critical examination of existing systems: Pigs (2022) assembles piggy banks whose bottoms have been removed. Stripped of their function of storing money, they prompt reflection on what money means when it loses its physical form.
In Cildo Meireles' Fontes (2016), this disruption of order is echoed, as the numbers of a wall clock appear to have fallen to the floor - the familiar rhythm is suspended, and time lies in chaos. Another example if the manipulation of signs is found in the work of Kandis Williams. In the Oratory Command: X Carmichael King Hampton (2016), she collages the hands of Black activists. These hands interlock, multiplied like protests that persist through time and media.
Further links on the topic
Audioguide Link
Further artworks from this exhibition
Introduction of the exhibition
It's Just a Matter of Time
Tony Cokes, Adrian Piper, Ayşe Erkmen
Outdoor
Julian Irlinger, James Gregory Atkinson, Philippe Parreno, Petrit Haliaj
Rotunda
Shilpa Gupta
Room 1
Max Beckmann, Lena Henke, Nancy Lupo, Heidi Bucher, Martin Kippenberger, Rachel Whiteread
Room 2
Felix Gonzalez-Torres, George Tony Stoll, Manfred Paul, Julia Phillips, Shilpa Gupta
Room 3
Cornelia Schleime, Marianne Berenhaut, Christo, Rosemarie Trockel, Latifa Echakhch
Room 4