Künstlerhaus Dortmund
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Raumerweiterung – im weitesten Sinne

16 May  – 28 June 2020

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"add-on" as a term for "enhanced applications" or "enhanced capabilities" means with regard to the presented artistic works an extended and increased spatial quality. Spatiality can develop differently in each case and leads to diverging ideas of space in the broadest sense.
The special feature of all these spatial interlocks and extensions is that they are perceptible, but elude objective knowledge and are indeterminate stay. How the spatial perceptions and ideas are transformed in direct contact and change with the respective work, eludes precise Euclidean verifiability. They offer scope for the expansion of enrichment of meaning, because they prove to be complex and enigmatic; they are and remain open to various ideas and interpretations. It is each an open, complex game with possibilities. The works shown in the exhibition thematised increased spatial quality as an add-on proves to be an incitement to search for extraordinary contexts of meaning.

Nikola Hamacher
Vanessa Henn
Raymund Kaiser
Jörg Kratz
Sali Muller
Ekkehard Neumann
David Semper

Nikola Hamacher

STRAND, video, 1:15 Min loop, 2011

The video shows the view from a beach cabin through the slats of the wooden door on the small section of an Italian Mediterranean beach.
The people are only fragmentary and silhouetted to recognize, much remains visual suggestion. Through the real and simultaneous audio recording of the environment (children screaming, fast talking women and men, sounds of door locks, etc.), the fragments complement each other to form an overall picture.

Vanessa Henn

Ridge, steel, PVC 530 cm x 12 cm, 2010

Vanessa Henn works with everyday semi-architectural objects whose function
is to direct the movement of people. Henn draws with her linear sculptures in space. Stripped of their function and re-contextualized in an exhibition space, Henns railings suddenly appear as enigmatic objects, while their counterparts in our everyday lifes are usually hidden from us. However Henns works are not readymades in the senses of Marcel Duchamp. Rather she uses found or post-produced everyday objects as material for her sculptures and installations. In a playful way she transforms stair handrails to absurd lines which are now no longer just our body, but also invite our mind to wander or digress.

Raymund Kaiser

OCK-AGS4 (160413), oil, lacquer, acrylic glass mirror, aluminium, 65 x 122 cm, 2013

Light develops on various surfaces. In my painting I create two differentiated states of colour, which emerge as opaque/matt and transparent/reflecting. The shade of colour that emerges, applied of differently coloured glazes of laquer paint onto a monochrome background, becomes the tonal original for the final, partial painting over using opaque oil paints.
The shining laquer enables the painting to create its own three-dimensional space, which meanders between indefinable depth in the painted ground and the overlappings of the reflection. My painting never stands alone: it communicates with the viewer and the surrounding space.

Jörg Kratz

ohne Titel, mezzotint, 12 x 10 cm, 2019

Jörg Kratz creates intimately sized paintings and tiny prints that successively reveal images of interior spaces, curtains and incidences of often tinted light gleaming through window lattices. Whilst the gaze focuses on their small surfaces the visualization of space and movement through light, shadow and texture becomes apparent as their main concern. In their formal concentration and tranquil atmospheric density the works resemble vessels for our imagination and for the issues how images emerge and how they shift our perception.

Sali Muller

Verschiebung der Wirklichkeit, cut mirror, 128 x 66 x 4 cm, 2017

As an object of physical representation, mirrors have been of great cultural and art historical significance for centuries : from self-contemplation, the image of the soul, to the motif of transience or the transitions of real worlds into magical parallel universes. They allow a variety of imaginary reflections. As a metaphor of reflection, the mirror expands the view of self-knowledge and self-contemplation. Sali Muller uses the mirrors as a starting point for her artistic practice in order to "refract" them, break them or fragment them. The unfinished forms, which she simply leaves standing or lying, are one of her artistic peculiarities and recurrent patterns with which she gives us thinking tasks. An example of this is her multi-part work The Missing Part (2017). Like enigmatic traces or signs, the objects challenge us either to put them together again, to rearrange them or to re-think them. The otherwise narcissistic mirror image and the recognisable space is disturbed or disappears. The view of oneself is reflected only in fragments. The result is an ambivalent perception experiment, alternating between real, virtual or almost surreal images of inside and outside, of moods and states in which past, present and future are reflected. (Harald F. Theiss)
Fragmentation and the impossibility of reflection is a key theme taken up in the installation The missing part. By removing the middle body or other parts of the mirrors, the viewers are left to gaze into a reflection that is paradoxically missing – only their feet and maybe part of their head remain visible, while the rest of the body and face are cut out in a violent slash.

Ekkehard Neumann

Ohne Titel (Bodenfaltungen), Eisen, Farbe, unterschiedliche Maße, seit 2012

"Surface forms, with different inclinations, joined together according to order and coincidence, allow us to experience space in a slightly moving way..." (Ekkehard Neumann, 2019)

David Semper

NISCHEN, Zeichenpapier (A4, A3), rechtwinkliger Wandschnitt, 2018

David Semper's approach can be roughly described by the two concepts of material and process and covers a wide range of work types and working methods. From the intensive examination of the location, its materiality, its former function and history, his artistic reaction may be the result. Be it in the making visible traces of this past, whether in the work with found material that he arranges and marks through subtle interventions. Another approach works with material contrasts, for example by having David Semper create pieces from of a wall and replaced by precisely fitting volumes of alabaster. Or he places stamp pads in previously created wall openings, then closes them through plaster. In an uncontrollable process the paint works its way through the plaster, spreads to the wall in an unforeseeable way over time. Similarly Semper initiates a forming process when he fixes a piece of lead tape in the wall and then allows gravity and the intrinsic weight of the material to interact. Variation and repetition, references to forms of classical ornamentation are also possible actions of the artist.
(Jens Peter Koerver, 2017)

concept and organisation: Elly Valk-Verheijen, Maria Schleiner, Willi Otremba
text and images: © the artists

kindly supported by: Kulturbüro Dortmund, Sparkasse Dortmund, DEW 21