DIS-PLAY #1_08172018 – Can we ever be free?
Streamed into the white cube on the screen of a smartphone in "88. Herbstausstellung' at Städtische Galerie Hanover / Kunstverein Hanover, DIS-PLAY #1_08172018 – Can we ever be free? opens an endless, infinite space aside from general dimensions and questions the realms of systems as well as institutional hierarchies. 5 artists are bringing together thoughts on freedom and losing oneself while showcasing individual artistic approach in the way of a hand gesture, holding their smartphones and recording their perspectives.
Tarik Kentouche's "Dollar Tree" is streamed from the motel 'Relax Inn' in New Orleans (LA-USA) into Erik Seth’s “Flüge (Flights)”,
fragments of several Travel-Performances called transit-tours. From 2011 to 2016 Erik Seth undertook several travel performances
that brought him across the United States, to Tokyo and to the Atacama desert in Bolivia. In 2011, he booked a flight for 80 Euros
from Germany to Tokyo where he had a layover of only 5 hours before his included back flight to Europe took off. Arriving at Narita
Airport, Erik took the train to Ueno Park and bought a Coke at McDonalds before he had to catch his flight back. Tarik Kentouche says
his installation is 'about walking the streets of Los Angeles. They are figures, left overs from gear between Downtown and Skid Row Los
Angeles'. His installation leads into an abstraction degree with "Flüge" and gives substance to the vastness, limitlessness, freedom and
independence of existence'.
Delia Jürgens adds a video-clip showing a fragment of her piece “(Untitled) to the unknown Man”, that she installed at the Ihme-Zentrum Hanover in 2017. The moving blur as the result of the flickering light and its low resolution appears as if the image would have a self-controlled activity inside itself and with it shifts the spacial dimensions of physical space. Delia Jürgens hereby refers to the origin of the image, a Stock Image of mineral rock. She deconstructed the found artifact to neutralize and question the image charge that she subsequently materialized as a woven tapestry while symbolically pointing to the resolution of a physical filter - the woven pixels.
Jessica Dillon creates a narrative through fragments of different actions and media. “STILL, MOVE” is made of light sound, painting, drawing, sculpture, video, live body, text, and performance residue. She transforms the general understanding of manifested terms such as a note of thought into a drawing and combines that to a photo which formally then stands in the question of drawing and shifts its appearance through the context as such. Her actions relay a train of thought that weave together her individual history with the larger historical context she chooses to engage. The changing environment and unpredictable conditions through traveling lead to an ongoing re-engagement of interaction with the physical surroundings of the performing artist. Stella von Rohden's participation "Medea's Traces" is a situation of becoming images, a diary about topology and mythology, within its own story. It is contextualized in Ovid's literary work and his biography - which says that he was in exile there, but which is not verified at all. In his "Metamorphoses" Ovid wrote not only the history of world out of chaos by transformations in terms of mythology - its form can be read itself as an analogy to this visual approach. He also wrote his version of "Medea", which is up to a short passage almost lost. The trip to Romania is a search of both interwoven stories to find correspondences with own inner visual thoughts and transformations in landscape and its coast of the Black Sea, which Medea crossed with the Argonauts, after she helped Jason to win back the Golden Fleece. It is also a search of physic traces and the ruins of Tomis, which were founded by her father. The reason why Medea can rejuvenate, but not turn around her own story. She can not stay, can’t go back neither and flees. It is a fore and back in the question of finding images, within narratives and spaces, to understand not only how certain stories determine the own images of space, but also very concrete, that space is pictorial itself. instagram