THE SACRED IN A FAULTY PRINTER

 

Some centuries ago, although not that many, the reality of an ordinary person was that of being in two places at once. The pre-industrial individual lived the reality of their life of work, as well as the reality of their belief in an active exchange with the divine. Here is an exhibition about how our lived reality has, in much the same way, crossed over with the digital. While they are not quite on a mystical quest, in the work of Collectif Grapain, Claus Georg Stabe, and Malte Taffner, we find a particular sensitivity for process. Brought together here are positions that contemplate what it takes to arrive somewhere in this world between the body and the machine, and what at times can go wrong along the way.

This meditation on the fallible is most explicit in the work of Claus Georg Stabe, where intricate penwork accumulates line after line into the illusion of a faulty machine photocopying memories of the sublime. Stabe’s dense Moiré effects, interrupted by ink drips, seem to contend with the desire to escape from form, into an expression of devotion to the trace that perception leaves on inner experience.1

Devotion in Stabe’s work is also to honour the shadow of the memory, to know how much infrastructure is necessary to begin to express the act of perception. Similarly Collectif Grapain seek to establish monuments for the hidden mess of the sleek contemporary. Instead of allowing the slowly obsolete ethernet cable to clog up another landfill, feeding the earth with microplastics, the artists compose contorted agglomerations of these cables into almost organic sculptural forms. This act suggests both a tribute to Moore’s law2 as well as a warning shot. If we opened people up we would find the dreams of previous generations in the shape of the metal remains of the balls of all their computer mice.

If we opened people up, we‘d find landscapes posits the possibility of an act of transparency, a baring: Instead of perceiving landscapes of desire at a distance,3 we can or perhaps even already do embody them.4 It is not in your head, but in your hands: make it happen. In this show by the curator Christopher Gerberding we find the dichotomy between verifiable knowledge and its application re-articulated in the disquieting way in which we have come to encounter it with unspeakable regularity throughout the pandemic.5 We cannot know what would happen if we opened people up, as they would be dead, and so no longer people. We can only trust in the potential of this poetic assertion, backed up by the work of Collectif Grapain, Claus Georg Stabe, and Malte Taffner. We cannot cure our doubt through edict, people would just see that as a challenge. Things are unpredictable, thumbs are opposable, the macro view varies appreciably from the microcosm. Each individual is a high-wire act, balancing between their privilege and the all consuming perfectionism of a data driven society. I think therefore I am. I know therefore I am confused. Oh God…6

Of the three artists in this show, Malte Taffner seems the least interested in what a landscape could come to mean, and looks rather at what a landscape actually is. Taffner’s work engineers natural processes and seeks to put them in relation to the planned zones of metaphorical thinking that make up the sites of the artworld. In this way his and Gerberding’s entreaties meet as complementary forces, whereby Taffner suggests that if people had the time to find landscapes, maybe they would open up.

Krzysztof Honowski, November 2021 


1) See Jack Goldstein’s pursuit of the trace in his lecture at the Art Center College of Design, Pasadena, California, October 14, 1992 2 A 1965 observation by Intel’s Gordon Moore which accounts for why technology just keeps getting better and better.
3) pace the Ecstatic Landscapes of Werner Herzog
4) And one quickly comes to the relieving realisation that Christopher Gerberding is also suggesting that you cannot shell a human like a walnut without being a psychopath.
5) And who are we anyway? The people? The polis? The audience in collusion with curator? Here “we” allows us to perceive a togetherness, or a directness that we have only newly come to appreciate through it’s pandemic-induced denial.
6) Or perhaps “The word God”, which is the devotional authority that preoccupies Georges Bataille.

Ausstellungen

Still aus der Videoinstallation „Screen Touch“ von Mona Kakanj, 2022

03. – 17. September 2022

Touch

Körper, Menschen, Nähe, Distanz

Original Games

29. juli – 27. August 2022

OG - Original Games

Retrogaming Warm-up

Autopoiesis – unit unbounded #22

11. – 26. JUNI 2022

Autopoiesis – unit unbounded #22

Markus Butkereit

Gruppe 69 #7

29. April – 15. Mai 2022

Gruppe 69 #7

Werkschau

© Dmitry Zakharov, Jan Glisman

27. April – 02. JUli 2022

Rückbau deutsche welle


Linn Phyllis Seeger

05. – 21. november 2021

senSitive content


01. – 17. Oktober

Metakrise

Navid Razavi

27. August – 12. September 2021 

The Encounter

Viktoria Strecker

17. JUNI – 01. Juli 2021


Grammatur 

We want to win #6

Stefanie Schrank

06. – 16. Mai 2021

Gruppe 69 #6

Werkschau

AB Februar 2021

ZWEI GRAD PLUS

360° Panorama Ausstellung

29. OKTOBER - 15. NOVEMBER 2020

ZWEI GRAD PLUS

Interdisziplinäre Ausstellung mit begleitender Druckwerkstatt

Defending Disco

24. Juli - 11. September 2020

Defending disco

Wie kann es weitergehen, wenn es nicht mehr weitergehen kann?

02. – 15. november 2019

Museumsnacht köln 2019

We want to win #5 

a DEEP breAth

mit Ke Li, Kevin Pawel Matweew und Noel Paine

21. – 30. JUNI 2019

Munaqabba

über Frauen mit Vollverschleierung in Deutschland

Eine Multimedia Installation von Selina Pfrüner

27. April – 05. Mai 2019

Gruppe 69 #5

Werkschau

22. - 24. März 2019

BALKAN. eine dokumentation

Fotografien von Sarah Sakotic-Sondermann

23. FEBRUAR 2019

FEEDBACK
GILBERT GEISTER

begehbare Projektion mit Videobeamern und Kameras in Feedbackschleifen

14. – 20. Januar 2019

MAKING HOME

ZUHAUSE IN DER FREMDE GESTALTEN - PASSAGEN 2019

WE WANT TO WIN #4

23. November – 9. Dezember 2018

we want to win #4

In Macondo, es regnet wieder

Horst Kistner

14. – 30. September 2018

Self Reflection

Wer bist Du!

29. Juni – 15. Juli 2018

we want to win #3

Find what you love and let it kill you

Jan Glisman

01. – 17. Juni 2018

Asbest as german waves 

Die deutsche Welle

27. April – 06. Mai 2018

Gruppe 69 #4

Werkschau

06. April – 20. April 2018

We want to win #2

Carians

23. Februar – 08. März 2018

We want to win #1

Der Grow-schrank

Choose entropie and burn

06. Oktober – 20. Oktober 2017

Choose entropie and burn

NEOLA e.V. präsentiert Arbeiten des Künstlers Christoph Lajendäcker

Syrien, Kunst, Flucht

04. August – 13. August 2017

Syrien, Kunst und Flucht

Wie beeinflussen Zerstörung, Gewalt, Tod, Vertreibung und Flucht die Kunst?

Gruppe 69 Werkschau #3

30. Juni – 07. Juli 2017

GRUPPE 69 #3

Werkschau

Torte und Champagner

27. bis 30. April 2017

TORTE UND CHAMPAGNER

10-jähriges artrmx Jubiläum

Jorge H. Loureiro

Donnerstag, 11. Mai 2017

Danach ist alles möglich

Künstlergespräch im Clusterhaus Köln

Atelier im Clusterhaus, Köln

Deadline: 26. März 2017

Danach ist alles möglich

zweimonatiges Atelierstipendium im Clusterhaus Köln

C. Trossbach, M. Wingender & A. Wülfing

24. - 26. März 2017

EXPO FEMALE

Charlotte Trossbach – Mirjam Wingender – Anja Wülfing

Atelierzentrum Ehrenfeld, Foto: Alexander Boehle

07. und 14. März 2017

Existenzgründung

Schritt für Schritt in die Selbständigkeit, Teil 1 und 2

CREATIVE.NRW

Preisverleihung / 16. Februar 2017

CREATIVE.Spaces

presented by CREATIVE.NRW

Ansgar Hiller

 PASSAGEN 2017 / 16. - 22. Januar 2017

FLIPPER-PLAYGROUND

by artrmx

Köln, Hugo-Eckener-Straße im Gewerbegebiet Ossendorf. Sinti- und Roma-Kinder auf dem bewachten Lagerplatz. 17. November 1988 (Foto: Eusebius Wirdeier)

23. + 29. Oktober 2016

Bewegung im Blick

ist im Rahmen des AIC ON Wochenendes am 23.10.2016 und zur Museumsnacht Köln am 29.10.2016 nochmal geöffnet. 

Koelnmesse GmbH / Sebastian Drueen

17. - 20. November 2016

COFA Contemporary

artrmx e.V. ist als Mitglied des Netzwerkes AIC auf der Cologne Fine Art Contemporary vertreten.

Demo gegen den Stollwerk Abriss, Schildergasse Köln, 20 Mai 1980 (Foto: Manfred Wegener)

15. September - 2. Oktober 2016

Bewegung im Blick

Die Kölner Fotografenszene der 70er und 80er Jahre

Gruppe 69

 

01. – 08. Juli 2016

Gruppe 69

2. Werkschau im Atelierzentrum Ehrenfeld