Artists: Gerry Bibby and Henrik Olesen
Venue: Deborah Schamoni, Munich
Curated by: Nikola Dietrich
Date: July 29 – September 17, 2016
Full gallery of images, press release and link available after the jump.
Images courtesy of the artists and Deborah Schamoni, Munich. Photos by Ulrich Gebert.
This exhibition is the first time Gerry Bibby and Henrik Olesen have collaborated after beginning a few months ago in Porto. It now continues in the gallery Deborah Schamoni. As part of a longer process, the works have been developed for different scenarios embedded in a particular Yes/No Landscape. Within these various constructed social-landscapes, images were created that follow direct or fictional-narrative traces and signs.
Strasse (Street)is the title of the first room, which, while providing orientation, allows for variable play with rhetorical and material possibilities. This first appears as a simple graphic image, in which an encountered street view has been flipped into the vertical. The black and white motif initiates a series of inversions and shifts that could be equated with closed structures like positive/negative, yes/no, outside/inside, vertical/horizontal. On the hard asphalt, paths and perspectives intersect, leading toward a rather fictional mental space in which conversation and exchange take place. In the second room Language becomes a motif, onto which, against an illusionistic background, multiple levels of meaning can be projected. Within the installation it assumes a performative form, where different attitudes—“when all is said and done,” “yes/no future,” “what is empathy?”—come to be worn within the Yes/No Landscapes.
The view behind the delineated space of the work No Wall admits that the end also means a beginning—for something that establishes, as on a further level in the gallery’s upstairs room, a transparency and view of the outside world.
An uncertainty in this system of perception and attitude is here considered a productive interference, and a potential to address new ideas. In the words of Paul B. Preciado* this could constitute a kind of “fictions-politics”, where “footprints cannot be followed, but instead have to be invented”
* Beatriz Preciado, “Gender and Performance Art. Three Episodes from a Feminist Queer Trans Cybermanga…,” (2004), extract from (Mis)reading Masquerades, produced by If I Can’t Dance in collaboration with the Dutch Art Institute, Piet Zwart Institute and Van Abbemuseum; Revolver, Berlin, 2010.