The Bright of the Whisper. Martin Soto Climent transforms the Kunstraum into a theatrum bestiarium, a focus on the secret animism of objects, of the objets trouves he likes to use. Altin's pictures and drawings are inhabited by young people who take on a life of their own.
Martin Soto Climent
For his first solo exhibition in Austria, Martin Soto Climent, born in Mexico City in 1978, transforms the Kunstraum Innsbruck into a theatrum bestiarium. Yet it is not the animal world, or the human bestiarium, that he shows, but the secret animism of objects, of the objets trouvés he likes to use. These mostly derive from accessories for men and women, such as gloves, shoes, pantyhose, T-shirts, wallets, or hair driers, or the accessories and design objects from our homes, like brooms, roller blinds, beer cans, bottles, or glasses. Occasionally, the artist also accentuates his spatial installations with strategically positioned photographs and videos.
What interests him, in the process, is not only the ambivalences of these objects, but also the relation, inscribed in them, between male and female, life and death, horizontal and vertical. Soto Climent fathoms their sensitivities, their animism, that oscillates mimetically between fetish and narrative. The Bright of the Whisper, the title that he gave his exhibition, refers to those hardly audible voices that the perceptive observer, and not least the artist himself, is prepared to notice, the very gentle inner whispers of seduction and temptation, the sexually charged subtleness of an easily understandable symbolism, including the poetical brightness apparent to those happy to follow. Martin Soto Climent arranges his objets trouvés and ready-mades into a ritual that was conceived for the white cube, yet he does so according to the rules of the fetishes of the modern world, as recognised by psychology (Krafft-Ebbing). These fetishes themselves, as the artist envisages, shall set in motion their mysterious, at times erotic, at times grotesque and humorous dialogue. (We observers, meanwhile, watch and listen.)
The Blue Room
When painting strives for a form, it is high time to put it on show. Ali Altin's energetic painting attitudes have created a new terrain for themselves, their new goals and artistic expression exciting our curiosity. The artist, born in Goch/Niederrhein in 1976, studied with Tal R at the Kunstakademie in Düsseldorf. The things he is interested in, i.e. the mysterious and occult, paired with the humour and the grotesqueness of comics, call for a certain artistic form that makes directly visible what can be said in words only with difficulty. Altin's pictures and drawings are inhabited by young people who, as if they had woken from the sleep of the painting gesture, take on a life of their own, and emanate an energetic autonomy as they do so. Be it human creatures, zoomorphic shadows, or demons, once they have emancipated themselves from the picture plane they take control of the situation, within a Dionysian world that has developed from collage-like, excessive scenarios, which at times appear cubistic, futuristic, or surrealistic.
Seeming to spring from these violent declarations of intent, the figures now perform for us, as in the spooky procession of young girls in blue painting (2011), or the unreal rendezvous at the museum, entitled das lehmbruckmuseum (2011). Ali Altin establishes a connection between the imaginary of his subjects and the imaginary scenario that we may well regard the reality of our everyday lives as. As through a gap in our consciousness, he lets us catch a glimpse of a world of shadows that shine out eerily, and that may be revealed at any time, provided we call them up.
Elisa Cavagnis Executive Assistant 0512/584000-13 e: email@example.com
Opening: february 9th, 7 pm
Maria Theresien Str. 34(Arkadenhof) - Innsbruck
Hours: tue-fri 11 - 18 Sat 11 - 17, sunday and monday closed