Hannes Heinrich, Buket Isgören

You call but not to me

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There is a call. In the light, in the dark, it doesn’t matter. I stop and look around. I see the caller and I answer. I answer because I know that the caller is calling me. The person they are calling is the same person I am. I identify myself in their call. I understand and I respond appropriately. And in doing so I confirm that the identity they have given me is the right one. But there is another call, one that for Deleuze and Guattari opens a different, passional regime: someone calls, but this is not me. They call someone else. I still stop and look around but I do not identify myself with the person being called and I feel … I do not know exactly, but Deleuze and Guattari would say, betrayed. Oh, how I would like to be the one who is being called! Providing there is a fascination with the caller, I want to identify this unknown person, I desire this betrayal. This too is a powerful bond. Then there is the third call that Deleuze and Guattari do not write about. Someone calls and this call is meant for me, but I do not answer because it seems too obvious, almost too stupid. They cannot be really calling me, or are they? Are they really, now? All three ways of calling are apparent in the work of Hannes Heinrich’s and Buket Isgören. There is a moment of recognition: this, there, is a depiction of a flower. It is rendered in such a way I recognise it as such. There is also a moment of betrayal, especially apparent in Heinrich’s work, when he rubs charcoal across the object he covers with canvas, desiring a closeness that the object does not give. Isgören too painstakingly colours in her leaves and petals. And then there is the call that is too much; it is too direct: flower, chair, shoe, hoody. In Heinrich’s latest work, the object he has drawn and rubbed, is cut out in order to once again gain a third dimension and become solid. Hannes Heinrich is a Munich-based artist. He studied in Munich, graduating in 2017, Klasse Kneffel. His most recent exhibitions include: ‘Part of a process,’ Galerie Jahn & Jahn, Munich (2022); ’Die ersten Jahren der Professionalität, BBK, Munich (2022); ‘The Shade, Kunstverein Kirchzarten (2020) and ’Ruinous Times’, Ruine München, Lenbachhaus Munich (2020). Buket Isgören is a Turkish artist who lives in Cologne and works at at Kunsthaus KAT18. GiG Munich learnt about her work through Aneta Rostkowska, the director of CCA Temporary gallery. Aneta visited GiG Munich and left the pamphlet accompanying the 2020 exhibition ‘Florophilia’. The strength of the writing lead GiG Munich to contact Aneta, who then agreed to collaborate with GiG for Various Others. She then suggested we show Buket’s work together. Buket Isgören is autistic and this presented the challenge of how to write about art in the theoretical way characteristic of GiG, but in a language that is simple. The exhibition will be accompanied by language workshops, inviting participants to translate difficult texts to simple German. This is in the spirit of Temporary Gallery and its focus on social context.
Magdalena Wisniowska