In the show the installations of Keibel encounter the paintings of the young artist Harald Hermann. The title 'Vom Ansich zum Fursich zum Wirsich' is based on two metaphor expressions for the condition of development of german philosopher Hegel: 'in itself' and 'inherently'. Keibel uses photography and daily objects, Hermann is a painter
In the exhibition "Vom Ansich zum Fursich zum Wirsich" the installations of
Markus Keibel encounter the paintings of the young german artist Harald
Hermann. The artists themselves developed the concept and execution of the
exhibition in a dialogue and consider the intersection of their work as a
new creative interspace. The title of the exhibition is based on two
metaphor expressions for the condition of development of german philosopher
Hegel: "in itself" and "inherently" - these terms are inspiration to the
artists as theme of the exhibition itself.
Markus Keibel uses medias as photography, language and daily objects as a base of inspiration for his installations. His artistic language is distinct and and reduced. Keibel's main artistic interest is the 'term' not as an abstract meaning but as a question: how can we talk about humanity and the human being without abstracting, but facing these terms in a concrete way!? He is not interested in the individual itself but in the relationship between the individuals to each other. A main inspiration to his minmal installations are current social discourses as well. In the execution he finds a very disctint and peculiar artistic language. One theme is the communication between mankind and their reception. In the big installation "Seven Evolutionary Points of You" Keibel repeated the sentence "They understand my idea" in circleways on big layered glass pannels. The awful way of reiteration of this sentence makes one think that a permant repeating of your own ideas is not necessarily a guarantee for being understood.
The paintings of Harald Hermann remember unreal dream landscapes. The pictures are layered out of confusing and chaotic pieces of memory that create a multidimensional space. The interweaving of images create absurde spaces and grotesque situations that form a hybrid window to a not known periphery of thoughts. The painting "Eingeschneit in Stammheim" transforms the notorious german jail of Stammheim into a glacier landscape. Neither the clearly structured building nor the landscape dominates the painting - the architecture and the landscape flow together into one new image. The viewer enters a space that is located inbetwixt the existing realities. Hermann's paintings are based on his own photographs. He paints the motives as landscapes, architectures or figures in layers one above the other. The landscape becomes one with the architecture and the figures seem to float in space. Hermann does often not finish his figures which creates even more space for associations for the viewer.
The free composing of realities in the painting of Harald Hermann reaches a certain level of distance to reality as Markus Keibel does question the opinion of the viewer - both artists create a possibility to look with a distance on our own existence.
Opening Friday, july 15th, 6pm - 9pm
Weydingerstr. 10 10178 Berlin