Opening : 11.12.2015, 18 Uhr
Introduction : Helene Bosecker
Exhibition : 11.12.2015 – 21.01.2016
This year’s theme exhibition at galerie gerken will be staged by the sculptor Anja Fußbach and the painter Wolf Hamm. They first met in the Bremer Güterbahnhof and realized a long envisaged artistic collaboration. The chosen title by Fußbach and Hamm facilitates an entry point to the orientation of the exhibition concept: because we remember, we can wish for something.
Hamm’s art is inspired by different structures of consciousness, like conscious remembrance and unconscious perception. Every informational space is represented as autonomous dynamic in his own essence and enables mostly the diffuse accessibility to comprehensive opportunities of self-experience. Hamm takes up these complex streams of consciousness and investigates, comprehends and recognizes them through his artistic work. A part of the process of preservation and treatment, every day life has a central role in Hamm’s creations. The family embedded in the social environment serves as a strong inspiration for questions about subject matter and compositional answers. Commonality and solitariness, affinity, ties and detachment, happiness and loss can be used as outlining word pairs for the description of the profound existentialism of Hamm’s art, which also give it a true to life topicality. As the technical equivalent of those multilayered structures of his own spirit interacting with his environment, Wolf Hamm uses reverse glass painting, the reverse and back-to-front order of painting of which enables him to bring in yet another level of reflection. Harbored and preserved, individuality and generality come together: the own dream is interlocked with questions directed to topical politics, abstract symbols are endowed with their own individuality, nature becomes human and vice versa. Hamm works from the gentle highlight reflected the iris of the human eye to the covering background of a landscape of clouds, deeply interfering by these procedural and directional changes with the technical and therefore epistemological structures of known procedures.
Fußbach’s works likewise affect our schemes of perception and open an intensive play of remembrance and detachment. The products of our consumerist society serve as a starting point of the artistic process: slick, perfectly shaped doll bodies, threadbare clothing and brightly colored cuddly toys start to characterize our aesthetical understanding of objects already very early and are part of cultural memory. Punished by the view of habit, their existence no longer arouses attention, so that the once glossy surfaces and soft hairs will, by the foulness of forgetting, obtain a certain morbidity. As objets trouvés Fußbach takes up this kind of aesthetic and also her political statement and places them in the center of attention once again.
Melted with steel, legs amputated and synthesized with glitter and wire, the works of Fußbach give innovative form to known materials, They conjure up a perceptional network alternating between recognition and alienness. By their fragmentation and alienation, the omnipresent objects once again obtain a platform for confrontation and discourse. Fußbach bestows on those objects of our society and thereby also our personal dealings with them, a new identity and at the same time a dignity, Self-confident and strong, her works stand for the call for consciousness which goes together with alleviation through recognition. The offer of changed complexes of meaning makes the firm woven net of conditioned values more flexible. What the observer of Anja Fußbach’s works is served as critique sees, is, at the same time, also a reason for the free joy of self-inflicted ignorance. It is less about denouncing lacking sensibilities but rather about the intrinsic humor with a special request not to constantly attach too much importance to the self.
Both positions of the artists aim at an involvement as to reflection and/or constitution of reality and find an expression of both their and our cause in intensively narrative and reference-rich materials.