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ACCROCHAGE

Nevin Aladag, Mathew Hale, Gregor Hildebrandt, Peles Empire, Wawrzyniec Tokarski, Timm Ulrichs

31.01 – 26.01.2015

Exhibited Works

Exhibited Works

WAWRZYNIEC TOKARSKI<br /><i>Artist</i>, 2008<br />Acrylic on untreated cotton, 300 x 400 cm<br />

PELES EMPIRE<br /><i>FGX3</i>, 2013<br />cement and paper, 42 x 29.7 cm<br />

GREGOR HILDEBRANDT<br /><i>Klangteppich</i>, 2008<br />audio tape, 374 x 244 cm<br />

TIMM ULRICHS<br /><i>Kritik der reinen Vernunft - Kritik der praktischen Vernunft</i>, 1977/85<br />wooden table, two books (Immanuel Kant 'Kritik der reinen Vernunft', Immanuel Kant 'Kritik der praktischen Vernunft'), 75 x 75 x 50 cm<br />

MATHEW HALE<br /><i>Weddings' Eve</i>, 2010<br />Acrylic glass, mixed media, 197 x 120 x 120 cm<br />

NEVIN ALADAG<br /><i>Stiletto, No Melody (4:10 min)</i>, 2011<br />Galvanized metal plate in wooden frame, 95 x 95 cm<br />In a thin sheet of metal, we see marks left by stiletto heels during a dance performance. The way the tin plate functions here is analogous to a photographic plate: The heels have pressed themselves into the material as the trace of a moment, just as a beam of light leaves behind a photochemical reaction on the negative, bearing witness to something that was once there. Aladağ presents the metal sheet’s reverse where the heel prints protrude towards us, corresponding to the photographic positive.

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