I entered you are we now one 2
Vier Arbeiten inszenierten sich als Nachfolger der Ausstellung I entered you are we now one (2021). I entered you are we now one 2 ordnete dem Ereignis der Veröffentlichung von Bildern (also der Ausstellung) dieselbe Zeitlichkeit zu wie dem tätowierten Körper. Denn die immer nur temporäre Verfasstheit eines Körpers (respektive einer Bilderanordnung) in Zuständen und relationalen Kompositionen erlaubt keine Wiederholung, sondern nur Übersetzungsversuche in zweite Male.
Die Oberflächen von I entered you are we now one 2 spielten mit Erinnerungen an andere Oberflächen – affirmativ durch Imitation und Zitierung oder in abwertender Referenz durch Korrektur. Denn was dem zweiten Mal immer fehlt, ist das Erste: der unwiderrufliche Verlust des Ersten zieht sich durch alle Oberflächen des Zweiten. Vielleicht aber kann das zweite Mal eine Sublimierung leisten: als Erstes nämlich einer potentiell unendlichen Kette von Fortsetzungen der Erinnerung an das Verlorengegangene: Ab jetzt geht alles: I entered you are we now one 2, 3, 4 ... bis ∞
EN
Four works pretended to be a sequel of the show I entered you are we now one (2021). I entered you are we now one 2 proposed to regard the publication of images (that is, the show) as temporary as the tattooed body. Since both a body and an arrangement of images exist in momentary conditions and relational compositions, which in total are impossible to repeat – one could only try to translate them into seconds times.
The surfaces of I entered you are we now one 2 were playing with memories of other surfaces – affirmatively through imitation and citation or in pejorative reference through correction. For what is always missing in the second time is the first: the irrevocable loss of the first infuses all surfaces of the second. But maybe the second time can achieve a sublimation: It is the beginning of a potentially endless chain of memories of what has been lost: From now on anything is possible: I entered you are we now one 2, 3, 4, ... up to ∞
(Galerie im Volkspark, Halle (Saale), 2022)
Last year‘s poster, updated
marker on digital print, 50 x 33 cm (2021, 2022),
photo: Etienne Dietzel
In relation to - Positionen junger Bildhauer*innen aus Deutschland (exhibition view), photo: Max Mendez
Instagram-post of July 18, 2021
3 paintings in oil on paper, each 100 x 50 cm, with wooden lath painted as wooden lath (2022), photo: Etienne Dietzel
Being your fond is my service to you 2 / isn‘t it boring to do the same thing twice
(left), oil and ink on cardboard, framed, 100 x 50 cm (2017-2022)
Being your fond is my service to you 2 / 2
(middle), oil, ink, pencil and marker on paper and cardboard, framed, 100 x 50 cm (2017-2022)
Being your fond is my service to you 2 / 2+1
(right), ink on paper, framed, 100 x 50 cm (2017-2022), photo: Etienne Dietzel
Being your fond is my service to you 2
(right), marker on digital print, 31,7 x 22 cm (2021, 2022), photo:
Etienne Dietzel
Being your fond is my service to you 2 / the joy of recognizing yourself in an image
(ꜜleft), oil and pencil on cardboard, framed, 100 x 50 cm (2022)
Being your fond is my service to you 2 / transfer transport question
(ꜜright), cut-outs in plywood, pencil, framed, 100 x 50 cm (2022), photo: Etienne Dietzel
All my tattoos Nr. 43 & Benefits of transportability
drawing mounted on plaster in wooden construction, painted + wooden lath painted as wooden lath, 213 x 40 x 65 cm (2021, 2022), photos: Etienne Dietzel