Uta Eisenreich – Time after Sometimes
Ellen de Bruijne PROJECTS presents Uta Eisenreich’s Tonbildschau Time after Sometimes (2012). Eisenreich develops a language of objects, which can be seen as a modern set of hieroglyphs, consisting of pictograms that convey meaning through their pictorial resemblance to a physical object and can visualizes a word, morpheme or sound.
The installation touches on major themes like love, time and transitoriness of human existence. Reminiscent of 17th century vanitas paintings Time after Sometimes features objects rich in morbid symbolism such as earthworms, insects, bones and chocolate cake. With a sense of humor that borders on idiocy Eisenreich explores the potential of a composition to become a script and the potential of a script to generate a composition. Objects are linked to sounds and pictures become an exercise in writing.
Time after Sometimes can be considered as a succession of Vocabulary (2005), where words were translated into images in an installation consisting of tableaus of strictly arranged clusters of numbered objects. Eisenreich concentrated on our means of understanding reality; in particular language, through the process of morphology. Whilst Vocabulary was translating words into images, Time after Sometimes reflects on the way our thoughts are structured, on Syntax. So here the principles and processes by which sentences are constructed are examined.
The work points out the arbitrary relationship (and structural differences) of language as a system of symbols and the mechanisms of the real world. Eisenreich’s work revolves around meaning, function and strategies about arrangement. She is fascinated by bringing order in the incoherent reality which surpasses the boundaries of our imagination.
Language can be compared to a sheet of paper: thought is one side of the sheet and sound is on the reverse side. Just as it is impossible to take a pair of scissors and cut one side of the paper without at the same time cutting the other, so it is impossible in a language to isolate sound from thought or thought from sound. Ferdinand de Saussure, in: ‘Course in General Linguistics’, (org. 1916)
Time after Sometimes is developed with the help of long time collaborator Julia Born.
Voice: Michael Blass
Sound mixing: Bart van Popplel
Video editing: Rens Christiaansen
Assistance: Renee de Groot
Opening Saturday 7th April, 17-19 h.
Exhibition 07/04/2012 – 19/05/2012
Gallery Hours Tu – Fri. 11-18 h/ Sat 13-18 h/ 1st Sun of the month 14-17 h
Florian & Michael Quistrebert – Amnesic cisenmA
Amnesic cisenmA , (detail), 3 channel video installation, 2011 (Photo:Stefan Lux)
Amnesic cisenmA is an exhibition based on a video installation with the same title. The mirroring words in the title reflect the recurrence of symmetry in Florian & Michael Quistrebert‘s work. The installation consists of three videos, each showing a basic shape adapted to the width and height of the screen on which it is displayed.
We do work with pure materials; the pure things we have in our flat get transformed into something else. It’s actually all very low-tech. We like to join low and high. Low culture, high culture; low materials, high materials. The results are like collages that play with references and result in a kind of transcendence.*
The artists use basic techniques such as montage, collage, fragmentation, and sequencing for constructing their work. Mainly based on painting and video, they work within a formal language using basic geometric shapes, such as circles, squares and rectangles. In doing so, Florian & Michael Quistrebert often use references to the aesthetics of modernism in their work.
While they worked with symbols of occultism in previous works, they try to eliminate figurative elements in their more recent work; When we were using symbols of the occult in previous videos or even in our paintings, we were clashing the transcendence or progressive moments of modernism with the occult, which possesses hidden, other knowledge. We were kind of playing with “rolled-up” idea of Progressivism. *
In this exhibition, the relation between the work and the viewer is of crucial importance. Because initially there is no clear meaning, but only the vagueness of the work, the viewer is dependent on one’s own context, background and memory to give meaning to the images.
Florian & Michael Quistrebert (FR, 1982 &1976) studied at Ecoles des Beaux-Arts de Nantes and were residents at Triangle Studio in New York. Their work has recently been shown in the Marrakech Biennale, Galerie Stadtpark, (AUS), Harris Lieberman (NY), le Nouveau Festival – Centre Pompidou Paris and PSM Gallery, Berlin. Currently Florian & Michael Quistrebert are residents at the Rijksakademie.
During the opening there will be a book launch of Florian & Michael Quistrebert’s new book Brothers of the Shadow, published by galerie Crèvecoeur Paris.
Opening: Saturday, 7 April 17-19 hrs.
Exhibition: 07/04 – 19/05 2012
Curator for Dolores: Dorothé Orczyk
* The quotes are taken from the catalogue of the exhibition Undisciplined Oscillator at Galerie Stadtpark, Krems (AUS) 2012
Special thanks to Marijn van Kreij and Galerie Crèvecoeur