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Catalogue ›NACHWELT‹ Franziska Klotz, Agnes Lammert, Jirka Pfahl, Ronny Szillo | Lachenmann Art

Catalogue ›NACHWELT‹ Franziska Klotz, Agnes Lammert, Jirka Pfahl, Ronny Szillo | Lachenmann Art

Catalogue ›NACHWELT‹ Franziska Klotz, Agnes Lammert, Jirka Pfahl, Ronny Szillo | Lachenmann Art

Year: 2021

Dimensions: 24 cm x 17 cm x

Pages: 80

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Catalogue for the group exhibition of the artists Franziska Klotz, Agnes Lammert, Jirka Pfahl, Ronny Szillo entitled ›NACHWELT‹, which took place from July 17 to October 15, 2021 in the Lachenmann Art Gallery in Konstanz. The exhibition ›NACHWELT‹ was supported by the Stiftung Kunstfonds and the special funding program 20/21 NEUSTART KULTUR. Texts by Sophia Pietryga, Juliane Lachenmann and the Lachenmann Art Team.

"The exhibition ›NACHWELT‹ in the Frankfurt gallery Lac h enmann Art deals with the question of what remains of art and artistic existence in the event of a dystopian event . In this scenario, we look into a future without humans , but with all the artifacts that they have left behind. This imaginary dystopia enables the visitor to view human existence from an apparent distance and thereby to understand and evaluate the current state of being anew . In the exhibition ›NACHWELT‹ Four artists provide insights into their reflection and artistic implementation of the thought experiment of a potential posterity.

Agnes Lammert's freely hanging sculptures represent the heaviness of a dystopia, transience and the lightness that follows. With her work ›Heaviness‹, the artist succeeds in creating a fictitiously light , permeable material that flatters the shape of a body . The freely hanging sculpture , which is in constant, gentle movement , arouses curiosity and fascination in the viewer . Agnes Lammert also knows how to give her work ›K a z é‹ an inherent ambivalence between the material composition and the effect . The sensitivity of the wax material to temperature confirms it as a fleeting , fragile artifact of a short-lived period of time . The interplay of apparent heaviness and apparent lightness , in their mutual condition and contradiction , alludes to an uncertain future, which can be questioned with the exhibition . What concerns us, what will remain and what will pass away ?

Jirka Pfahl's work examines the possibilities and limitations of a blockchain-based work of art that is based on new digital values ​​and evaluation systems. Blockchain describes a continuously expandable list of data sets and can be continued indefinitely. Jirka Pfahl brings the chaining that exists in the hidden network of the computer into a visible form. His works consist of folded shapes that take up the entire picture area like a net. In the constant repetition of individual shapes and their reproducibility, they trigger thoughts about infinity. This work is intended to represent the achievements of technology that would continue to exist even in a dystopian scenario without a human population. With the help of his works based on strict rules of order, Jirka Pfahl shows us that humans, who are themselves finite, can create infinite things. In addition to rapid technological development, the human mind and intellect have also changed. Critical thinking is more part of the zeitgeist than ever before.

Franziska Klotz also devotes herself to this zeitgeist in one of her works, which, among other things, portrays teenagers, whose generation has both a difficult legacy and great hope. The criticism of the younger generation is becoming increasingly louder, demanding that existing conventions be reconsidered. Franziska Klotz takes up the call for a change in society, which is stuck in traditions, in her position as a painter. Existing and outdated orders lead to a bleak future, which Franziska Klotz depicts in her work ›Moorbrücke‹. The urge to break such traditional conformity is illustrated in the work ›Glass 1‹ by a crack in the glass. Franziska Klotz shows a destroyed picture background that takes up the entire surface and cites the uncertain positioning in a world of upheaval and innovation in the form of apparently reflective facets. Individual fragments that refuse to be seen through thus make direct reference to all the uncertainties of a posterity.

Ronny Szillo's sculptures playfully pose the question of what objects from our present day a future archaeologist would find. In direct comparison to historical, sensational grave finds from the past, Ronny Szillo creates brightly colored fossils of the future. In reference to rock layers compressed over thousands of years in which fossilized snails and plants can be found, the gray concrete encloses colorful sneakers, glittering cell phone cases and everyday objects such as toothbrushes. No hand-painted ceramic shards or ancient tools will be evidence of our civilization, but rather all those apparently ordinary objects and artifacts that Ronny Szillo merges in a suspicious reflection of the Anthropocene. With a critical wink, the artist reveals himself as a visionary of the future who not only dares to question the multimedia structure of our time in the sense of a "brave new world", but also enters into an art-historical dialogue with material properties and craftsmanship. Ronny Szillo casts the aesthetics of the 21st century in concrete for posterity."

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