i am see
i am see is an exhibition that in many ways continues in the vein of last year’s exhibition constellations in a bubble. We are interested in whether the counterpart to the constellation and the bubble is the sitespecific fog that rises over Lake Constance, and whether this masks the view of the other side of the lake. Often obscured by the veil are the backgrounds of the construction, which are lifted when things get personal. Structures of otherwise unspoken framings that keep the enterprise flowing, shine in the space between. Edgings and banks that see, that focus and surround the seeing on a segment, that evoke stories of the site, help to navigate. A haze-generating surface that is flow and text, bursts into rain and language. Encompassing animals and image-made image-drops strand on the divided margins of the local and time-specific environment. Are relationships once forged connections that become conventions or do they collectively form a living cloud that cannot be seen as long as one is in it? The familial nebula is stored on meadow, wall and lake, before the how-see of the sight-ways. Star constellations and lakeside surfaces are both for our seeing planes that vibrate, conjure up and reflect very differently. This concerns the commentary approach towards i am see. The five artists are shown together for the first time in an exhibition; all works were created or recontextualized especially for this exhibition; and all artists have a personal relationship with rivers and lakes. For the artist Caroline Bachmann the lake is the central motif of her paintings. In her distinctive visual language, developed over the last 15 years, seeing the lake, through a painted frame, and inverted: seeing the frame, through the natural, symbolic, painterly transcendence of the lake, becomes a question of the active positioning of the spectator. So it is no surprise that for her it includes the stimulating communication of images in the group, the common teaching of art and the critical questioning of one›s point of view alla “Étant donnés” as part of the reciprocal relationship with and of images. In Monika Baer’s exhibitions, the image, especially the painting and its inner and outer conditions, is the starting point of her considerations. The meticulous way she argues in and with paintings turns them into a magnifying glass for forensic image examinations at the crime scene exhibition. Every decision in and for a painting has its place and reason. Before the precise operation, it often lies entombed in painting-specific, personal and psychological patterns, without suggesting the hierarchical structures of before and after or true and false. Monika Baer paints only the images she wants to paint and to see, in order to enter into a delicately elaborated communication with the history of the painting(s) and its audience, an inSiteout-specific image-argumentation emerges. Jochen Lempert transforms through his photographs images into vivid moments of roaming for motifs; converts the centimetre-precise eye for the details into individual images; and inverts groups of images into swarms communicating within and between themselves, provoking unseen interactions. All this without losing perspective of the site-specific situation, whether behind the analogue camera or in front of the exhibition wall. A flip movement of seeing and being seen permeates his work. Surprising similarities trigger a web with chains of associations and interwoven backstories. The investigation of everyday sight becomes an experience of subtle pictorial relationships that embody their origins and the contexts of their emergence to incorporate them organically into their display. Mark von Schlegell enables the realities of seeing in his science fiction novels and texts to tumble into one another so that without losing any of their suspense, they are thrust into their surface, on which they turn over into delicate undulations. Arriving at the shore of an exhibition, the specific occurrence also resides for him on the other side, on relating to and reflecting on given locations and narratives. Whether the story is set on Venus, Mercury, the deserted Earth, Neptune or Pluto the local conditions directly influence the style of writing and the upcoming exhibition. The art of the future is fictional. Press releases are planetary situations that, in a Rousselian (RR) spirit, provide a link to the here and now. The lake is printed. The installation of a science-fiction-book-rack contextualizes the exhibition on another level. Watercolours of maps and book covers influence and draw lines through the space to bend it into other realities, scenes and settings. Bea Schlingelhoff explores the places where she exhibits by bringing social, personal, political and historical structures into the centre of institutional interest. She transfers and transforms the conditions and contingencies she finds in such a way that visitors to the exhibition cannot avoid seeing and questioning these conditions as artistic work. She is interested in the conditions that constitute an artistic work before and potentially after its elaboration within an exhibition space. In her work zur Hoffnung, the storage room of the Kirchgasse gallery is cleared out and illuminated. As a connection to the exhibition space, the name of the house in which the gallery is located “Zur Hoffnung”, which is already painted on the side of the house, is reproduced and written above the entrance to the storage room. All artistic works normally deposited there, such as wrapped paintings, drawings and sculptures by the gallery’s artists (or friends), but also folders, posters, tables, etc. will be stored in the gallery space. The floorplan of i am see declares the entire content of the storage room to be artistic work by Bea Schlingelhoff. Thus, questions of economic and interpersonal relations, regulations and dependencies are raised anew during the exhibition period. How and under what conditions can the gallery best sell the originally stored artistic works now, who is the author of the work and who gets the money?