frontviews temporary, Beta Haus Berlin
21 Apr – 28 Apr 2012
Astali / Pierce, Willem Besselink, Ronald de Bloeme, Gabriel Braun, Silke Briel, Frank Eickhoff, Nadja Frank, Joachim Grommek, Eno Henze, Moritz Hirsch, Olaf Holzapfel, Yala Juchmann, Antonio Mesones, Nina Ploghöft, Lidia Sigle, Tim Stapel, Yorgos Stamkopoulos
Ronald de Blome
with the kind support of ORCO-Berlin and Beta Haus
»Aus der Zeit« - formal extracts of presence
- The deafness of eyes, the dullness of sound, the brashness of impossibility to classify anything, to relate to anything (calm down).
There they were again, those things, like ever resisting,independent from so much, especially from the events of the day, pointing happily on themselves and their brood:
nevertheless different, completely new fresh formed und
therefore within the Here and Now. –
Time is ticking, and realities are changing. Reactions
configure themselves in a new way. The cultural medium
has changed its form, therefore ways of creative shaping
are refined or new methods are invented.
The art of abstraction is the filtering of selective parts of
individual, or collective realities; some patterns persist,
some shapes remain. The human mind works like a filter,
served by an endless number of technical processes.
Through this filtering process, a particular core idea becomes
evident. The exact representation of this particular
element, through time, often becomes skewed; the ideas
become more tangible, and generally recognizable.
When initially viewed, a connection between the work,
and the recognizable plays a far less important role; the
viewer’s perception is an “introspective” component. In
their time, the works manifest as their own reality. The
elements of the work cannot be completely independent
as the ideas have materialized into a concept. The
individual elements cannot exist outside of space, time,
and material. Therefore associations to existing visuals
The similarity between the work, and that which already
exists, is not consistently obvious: these elements are often
diffused by experience, or interpreted in various ways.
Perhaps the process of defining form from reality can
be explained in one of two ways. On one hand, there are
strategies using a subtractive method of classical understanding,
meaning one must reduce existing matter to the
bare core. On the other hand, one may recognize a formal
presence, but willingly deny every direct representation
it has to a form that currently exists.
These are mere guidelines to the intricate, and complicated
processes of abstraction. In combination with
tangible artworks, this theoretical antagonism is often
difficult to define, and may not always be entirely relevant.
These themes are often difficult to emote when the works
themselves physically materialize the central notion of
this phenomenon so well. This exhibition aims to offer
insight on abstraction. The works of today , manage to
transcend the formal understanding of the materials
and the concepts they display. Ironically, it is the formal
understating of these elements that equally permit the
their transcendence of time.
A free revision of the german text by Caidleigh Murphy