Installation ViewCarolin Eidner Faded Eros 1 2020 pigmented plaster on styrofoam and wood 200 x 150 x 10 cm uniqueCarolin Eidner Faded Eros 2 2020 pigmented plaster on styrofoam and wood 200 x 150 x 10 cm uniqueCarolin Eidner Conceptualising Flesh 1 2020 pigmented plaster on styrofoam and wood 200 x 150 x 5 cm uniqueConceptualising Flesh 2 2020 pigmented plaster on styrofoam and wood 200 x 150 x 5 cm uniqueCarolin Eidner Metaphysics Of Zebra And Rose Wine From Africa 2016 pigmented plaster, mounted on styropor 113 x 240 x 6 cm uniqueInstallation viewInstallation viewInstallation view
“Humankind discovered its own origins – it discovered digitality! And suddenly — flesh disappeared – the world becomes a huge set of conventions and its theatrical character is unfolded fully, entirely and once and for all! Breathing becomes easier and lighter: no heaviness of substance around - everything vibrates and we together with the whole! Subject and object finally unite within the dance of digits and also human mentality stops to be divided (the observer and the observed) a man’s thought and outside world merge with no need for a bridge. Now we know that something that vibrates is a tomato, a bird in the sky, shit in the bowels, the flesh beneath the skin, a cock among hens, etc.” (C.E.)
A former master student of Rosemarie Trockel at the Düsseldorfer Kunstakademie, Carolin Eidner got renown through numerous international solo and group shows. At her first solo exhibition ‘Conceptualising Flesh’ at at Pop;68, instead of using the entire exhibition space in a conventional way, she concentrates on a central position: four individual images suspended on metal rods form a diagonal line, dividing the gallery space and causing the gaze to accelerate along an aligned axis. Using her technique of coloured plaster, engraved into a plaster board, which gets sanded in sculptural manner, she leaves a thin layer of plaster dust on the floor, outlining the vulnerability of the image, content and substance.
