Künstlerhaus Dortmund
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add-on
Raumerweiterung – im weitesten Sinne

21 March  – 3 May 2020

Opening on Friday 20 March at 8 p.m.


"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.

KünstlerInnen
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.
www.vanessa-henn.de


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.
www.raymundkaiser.de


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.
www.joerg-kratz.de


Sali Muller

Too broken to pretend not to be, broken mirrors, 200 x 410 x 20cm, 2017

"Too broken to pretend not to be" confronts the viewer with the destructive mentality and behaviour of human beings. The deconstruction of the mirror surface plays with the human desire of destroying things and his own self-destruction, a characteristic enforced by the capitalist society. The social structure, with its one-sided emphasis on competitive thinking and material things, causes a loss of all spiritual values. The sharp edges of the broken mirrors increase the risk of hurting the body as well as the mentally unstable and unbalanced self-image.


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)
www.davidsemper.com





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

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