Submission
Martin Chramosta, Karoline Dausien, Jan Erbelding, Rachel Fäth, Johanna Gonschorek, Irina Lotarevich, Kristin Weissenberger

Truth to Materials

Exhibition: Truth to Materials with works by Martin Chramosta, Karoline Dausien, Jan Erbelding, Rachel Fäth, Johanna Gonschorek, Irina Lotarevich and Kristin Weißenberger at LOVAAS Projects in Munich, Germany.


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Truth to Materials, Exhibition View, 2021
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Truth to Materials, Exhibition View, Front, 2021
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Truth to Materials, rachel Fäth, Exhibition View, 2021
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Truth to Materials, Irina Lotarevich, Exhibition View, 2021
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Karoline Dausien, Silver Pot, 2020
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Karoline Dausien, Tricks, 2020
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Karoline Dausien, Brezelknoten, 2020
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Kristin Weißenberger, no title (FINDING), 2021
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Martin Chramosta, Der Assistent, 2020
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Truth to Materials, Karoline Dausien, Exhibition View, 2021
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Martin Chramosta, Simmeringer Talisman, 2020
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Martin Chramosta, Maják, 2020
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Truth to Materials, Rachel Fäth, Karoline Dausien, Irina Lotarevich, Kristin Weißenberger, 2021
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Rachel Fäth, Clamps duo, middle and lower position, 2020
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Rachel Fäth, Fahne an der Heizung wehend, 2020
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Rachel Fäth, Gurke an der Wand befestigt, 2020
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Jan Erbelding, show is over (dachte ich), 2021
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Rachel Fäth, Freiheit ist schön, 2021
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Johanna Gonschorek, Reproductive Reflection, 2020
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Johanna Gonschorek, Heart full of pigments, 2019

It commonly transpires that a correlation of objects, of a non-linear nature, might make for an affective experience. To look at the works in Truth to Materials invites a reconsideration of felt, non-logical engagement. Art-working of the sculpture, painting, or poetic form often functions as an archaeology of intuitive attribution, an interweaving of found and present materialities. Yet it is at the moment of conception, of fruition, that an intervention sparks; a new realm of being, an alternate state of reckoning.

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Iron and steel on the surface can appear to be rough and harsh, bearing an aesthetic of construction and control. But I feel their materialism prevails a gentleness of form, and have hidden charms and magical elements, which endure economic and naturalistic disaster. In a queer, feminist realm linearity is replaced with an intertextuality of weaving, a bearing witness to the unseen and often unheard. The magic of luck and chance binds these works, small fragments of a larger intuitive dance.

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The poetic forms appear to be in conversation, circulating around and into one another. I am interested in the futurity this poeticism generates, in the hybrid forms of feeling and integration, of the manipulation of materiality into language, or lyricism into intuition.

The poetics of form are contained within a brutalist grid, prison-like, almost subordinate. Yet the forms dwell inside as an ungraspable utopia, a never-ending sense of now. There is a sense of and almost always a projected, speculative place-to-come, and is never locatable in the present. The weight of the fabric permits brutalism to be a soft, poetic sense of comfort, an unseen mode of dreaming, imagining, feeling. Memory is registered as a floating substance, inviting time to relapse and reform.

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The countless ruptures between tenderness and form feel serenely kind, to draw attention to the states of self which might beckon towards a dreaming, a different sense of lived reality. Run your eyes across the surface and its unevenness becomes a form of Autonomous sensory meridian response (ASMR), imagine weaving your hand around the shape of the grey metallic ridges. As you do so, a meditative state proceeds you.

A sound can also be tactile, a materiality in its own right, just as the body can become an orchestra of sounds, a resonant conversations. Sometimes, clay is consumed, bacterial lingers and generates materiality with fading sounds of the body. The linearity of sounds becomes materiality to move in and out of the body’s time, rhythm, biology, fibers. The materiality of the devil’s cup; a singing towards utopia; humor can be a form of violence; sound is the materiality of cynicism.

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The Talisman – the curves and symbols generate a sense of luck and magic, an intervention in the brutalism of forms through the touch of the eye. To view these forms is to step into a world of not-now, a past which reckons with the future. Think of the nuance of magic as being a set of tricks, a commentary on the patriarchy, of what might be revealed in materiality. In this sense, curious materialities might not always prevail in a sense of truth or utopia, but instead a trick or playful manner which invites a lingering of peculiarity. It is in this double-sided trick, a linguistic commentary on truth is born.

I feel a utopia of materiality, a shared sense of future where the communicability of forms can be bound by chance and magic. Magic is a type of chance; it reveals the slippages in experience and life, the hidden corners of aesthetic difference. The materialism of utopia is the futurity of the oddity, the serendipity of hard forms whose edges are actually soft, changeable; dreamlike. The truth in Materials is the possibility of matriarchy.

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