Submission
Group Show

Taking biology as a starting point, the works in the exhibition explore mimetic processes that are based on the understanding of and the empathizing with a counterpart. They present techniques of assimilation to a given context; they address the hiding and disappearance of animals and humans; and they deceive our perception through trompe-l'œil. It is generally believed that these mechanisms of adaptation could be advantageous for the organism in question. However, in his essay Mimicry and Legendary Psychasthenia the sociologist Roger Caillois argues that contrary to popular belief, animals do not adapt to their environment for their own benefit, but rather out of a mythological desire to dissolve into the world. This relationship between the useful purpose of becoming another and the emancipation from that very purpose is put up for discussion in the works of the exhibition. After all, genuine empathy is only viable in the absence of purpose. The ability to make this distinction provides the key to developing one's own identity. The psychoanalyst Gohar Homayounpour states in Against Empath "ism": The keyword for genuine empathy lies within “separateness”, within the essential capacity to recognize difference. Otherwise, I am just getting to know you in order to prey upon you, so that I can eat you. For my insatiable narcissism needs to be fed over and over again. The works in the exhibition Mimicry—Empathy negotiate the formation of identities through experimental mimicry in various ways. Visitors are invited to discover images of their selves in the mirror of the exhibition. (Susanne Bürner, 2022) Produced by Fræme (Marseille) Curated by Susanne Bürner With: Caroline Achaintre (FR), Armin Alian (IR), BLESS (AT, DE), Ulla von Brandenburg (DE), Susanne Bürner (DE), Berta Fischer (DE), Wiktor Gutt / Waldemar Raniszewski (PL), Sofia Hultén (DE), Annette Kelm (DE), Jochen Lempert (DE), Alexandra Leykauf (DE), Sonya Schönberger (DE), Anika Schwarzlose (NL/DE), Daniel Steegmann Mangrané (ES/BR), Vera von Lehndorff / Holger Trülzsch (DE).


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Armin Alian, Diverted Poem, 2022, two part mural, print on wall paper
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Annette Kelm, archival pigment prints, 2018, installation view
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Alexandra Leykauf, Stick Men, 2021, installation view
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Anika Schwarzlose, Tank, 2013, video, DV, 18:11 min.
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Techniques of Redefining Boundaries, 2022, photographs, installation view
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Berta Fischer, Garmion, 2020, acrylic glass, approx. 250 x 300 x 450 cm
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Berta Fischer, Yraminion, 2022, acrylic glass, approx. 80 x 80 x 48 cm
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BLESS, Curtain with a view, 2022, curatains for two windows, cotton, iron
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BLESS, Curtain with a view, 2022, curatains for two windows, installation view
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Caroline Achaintre, Igor, 2019, hand tufted wool 260 × 165 cm
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Daniel Steegmann Mangrané Phasmides, 2012
, 16mm film transferred to HD video, color, mute 22:41 min.
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Mimicry—Empathy, installation view (Alexandra Leykauf, Susanne Bürner, Berta Fischer)
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Vera von Lehndorff, Holger Trülzsch, Hörzing Grotto. Performance 1971. photographs, diasec, each 100 x 100 cm
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Jochen Lempert, gelatine silver prints, installation view
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Susanne Bürner, Seide für V.B, A.P., B.D. und M.A., 2018, archival prints, framed 73 x 104 cm each
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Sofia Hultén, Grey Area, 2001, DV video, 9 min.
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Sonya Schönberger, LOSS, 2021, diptych, photographs, 50 x 60 cm and 23 x 32 cm, mirror, 23 x 32 cm
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Ulla von Brandenburg, It Has a Golden Sun and an Elderly Grey Moon, 2016, super-16-mm film transferred to HD video, colour, sound, 22:25 min.
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Wiktor Gutt / Waldemar Raniszewski, Expressions on a Face, 1981, photographs as slide show, video, 11:13 min., tribal music and TSA rock band

Caroline Achaintre
Igor, 2019, hand tufted wool 260 × 165 cm 

Armin Alian,
Diverted Poem, 2022, 2 part mural, print on wall paper

BLESS
Curtain with a view, 2022, installation, curatains for two windows, cotton, iron
 
Susanne Bürner
Seide für V.B, A.P., B.D. und M.A., 2018, 5 framed photographs, 73 x 104 cm each
 
Ulla von Brandenburg
It Has a Golden Sun and an Elderly Grey Moon, 2016, super-16-mm film transferred to HD video, colour, sound, 22 min 25 sec.
 
Berta Fischer
Garmion, 2020, acrylic glass, approx. 250 x 300 x 450 cm (dimensions variable)
Yraminion, 2022, acrylic glass, approx. 80 x 80 x 48 cm
 
Wiktor Gutt / Waldemar Raniszewski
Expressions on a Face, 1981, photographs as slide show, video, 11:13 min., tribal music and TSA rock band. 

Sofia Hultén
Grey Area, 2001, DV video, 9 min.
 
Annette Kelm
Red Stripes 1, 2018 archival pigment print, framed 102.2 x 77.1 x 4 cm
500 Euro, 2018 archival pigment print, framed 77.1 x 58.2 x 4 cm
Good Morning, 2018 archival pigment print, framed 77.1 x 58.4 x 4 cm
Light Double, 2018 archival pigment print, two parts, framed each 52 x 40 x 4 cm


Vera von Lehndorff, Holger Trülzsch
Hörzing Grotto. Performance 1971.
3 photographs, diasec, each 100 x 100 cm
 
Jochen Lempert
6 gelatine silver prints unframed:
Untitled (Einfühlung), 2018, 30 x 24 cm
Belladonna, 2013, 30 x 24 and 24 x 18 cm, diptych
Gingko 2014, 47 x 39 cm
Phasmides, 2013, 23,7 x 17,7 cm each, diptych
 
Alexandra Leykauf
Stick Men, 2021, 7 mirrors with black silk screen prints
Braak Mann 200x60cm
Braak Frau 195x55cm
Dickes Bein 180x65cm
Mund 195x70cm
Possendorf 160x90cm
Kind 140x50cm
Boddenbjerg 110x60cm

Sonya Schönberger
LOSS, 2021, Diptych, 2 photographs, 50 x 60 cm and 23 x 32 cm, mirror, 23 x 32 cm
 
Anika Schwarzlose
Techniques of Redefining Boundaries, 2022, 18 photographs, 40 x 50 cm each
Tank, 2013, video, DV, 18:11 min.
 
Daniel Steegmann Mangrané
Phasmides, 2012
16mm film transferred to HD video, color, mute 22’41” (projection size: 130×95 cm.)