Cim Jubke

Cim Jubke, Kunstverein Rastatt

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Blinkers for door, 2022 (chalk and acrylic on UV resin)
Blinkers for door, 2022 (chalk and acrylic on UV resin)
"becared about"
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Sitting straight in a state of focus looking down, 2022 (acrylic on wood panels)
Sitting straight in a state of focus looking down, 2022 (acrylic on wood panels)
Sitting straight in a state of focus looking down, 2022 (acrylic on wood panels)
Sitting straight in a state of focus looking down, 2022 (acrylic on wood panels)
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Uninformed areas - imi21, 2022 (laser print, acrylic and aluminium)
Uninformed areas - imi21, 2022 (laser print, acrylic and aluminium)
Blinkers for octagon, 2022 (silver gelatine exposure on baryta paper in plexiglass and aluminium)
Blinkers for octagon, 2022 (silver gelatine exposure on baryta paper in plexiglass and aluminium)
Blinkers for octagon, 2022 (silver gelatine exposure on baryta paper in plexiglass and aluminium)
Blinkers for octagon, 2022 (silver gelatine exposure on baryta paper in plexiglass and aluminium)
Uninformed areas - ArgusCDF, 2022 (laser print, acrylic and aluminium)
Uninformed areas - ArgusCDF, 2022 (laser print, acrylic and aluminium)
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Sitting straight in a state of focus looking up, 2022 (acrylic, oil, plexiglass, steel and paper on wood panels)
Sitting straight in a state of focus looking up, 2022 (acrylic, oil, plexiglass, steel and paper on wood panels)
Sitting straight in a state of focus looking up, 2022 (acrylic, oil, plexiglass, steel and paper on wood panels)
Sitting straight in a state of focus looking up, 2022 (acrylic, oil, plexiglass, steel and paper on wood panels)
Cim Jubke, Kunstverein Rastatt, Installation view
Cim Jubke, Kunstverein Rastatt, Installation view
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Reading, quattro fontane, 2022 (chalk, acrylic, oil, laser print on paper and graphite on wood)
Birdseye, quattro fontane, 2022 (lacquer, oil and acrylic on canvas on strecher)
Birdseye, quattro fontane, 2022 (lacquer, oil and acrylic on canvas on strecher)
To observe, to watch, to look closer, to stare; those are my tools I always knew existing, existing under a certainly thicker becoming layer of dust. Placed in the attic. It felt like I used to forget the usage and abilities of my beloved tools, my so-called loved ones. The resting dust spoke about our absence. Spending time in the attic were the most hectic. Dust seemed to act like rain; draining on top of us. Contaminating my loved ones. We tried to revoke. But just like every warped tool, it had the potential of being objective; about the potential of hitting us critical. Over every sink there should be a mirror, I always hated that saying. I always felt disgusted by the look of myself while cleaning; always knowing there are certain parts I’ve missed. Always knowing the parts I’ve missed, calling them names. For every corner I need a pair of eyes; wet enough so there won’t be the need to glimpse. To maintain the corners, to follow the route of the dust. The try of drawing a route; traversing the route. Doing circles around squares; adding layers. Painting walls; Cim Jubkes exhibition felt like I interrupted him while observing, windows appeared to not be see-through; so there was never another turn out of not staring at him. Staring at him while collecting stills; loosing my beloved landscape and being confronted with a new type of landscape; the pierced collage. To pierce always described the try of defining a new center; hijacking. After being pierced I always wanted to be the piercer. After being cared about I always stayed careful; Matthias Holznagel on Cim Jubkes exhibition „becared about“

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