November 17 – December 21, 2012
Mitya Churikov, Hannah Gieseler, Adrien Missika, Yvonne Roeb, Marcus Steinweg
News about the Apocalypse #8
In its »News about the Apocalypse« exhibition series, the Berlin based project space NOTE ON celebrates and experiments with arguable visions and models at the borders of art, society and science that can be of use for the future of the past.
In the final »News about the Apocalypse #8« exhibition, the utopian and dystopian worldviews will be investigated according to the aesthetically mediated subject of landscape. Escapes from this world get staged with the help of abstraction, exaggeration, alienation and the discursive transfer of concepts of reality as paradisaic longings, dystopian scenarios or mythological apocalyptic worlds. Within the exhibition, ideas of landscape as a foil for colonial appropriation, as an original state to overcome and as a touristic postcard motive whose cut outs represent an atmospheric space; a part of something whole.
Paradise Lost (poem by John Milton, 1667) or Apocalypse Now (film by Francis Ford Coppola, 1979)? Was Atlantis’ downfall avoidable? How could we live in the state Utopia (philosophical dialog by Thomas More, 1516)? Does the world’s existence stop with the apocalypse? Does reality only seem real because there is a subject who positions itself in it? Once more: »Et in Arcadia Ego« [English: Even in Arcadia I (am there)].
In his diainstallation Idee der Landschaft [Idea of the Landscape] (2012), Mitya Churikov (*1985) transcribes landscape motives into abstract images. Seemingly, he eliminates the natural for an ideal and re-translates the atmosphere as a form of expression. Hannah Gieseler (*1980) constructs landscapes by transferring the spatial installation untitled (BOX VI) (2012) into a two-dimensional image. Through the simultaneity of the film recording and projection she questions the relationship between model and reality. Adrien Missika (*1981) presents us with the non-fullfilled promise of an ideal landscape in his video work Black Sand Beach (2011) in an ironic but still elegic manner. The dead tree at the beach of Hawaii, surrounded by elderly, bearded men in shorts, becomes a vexier-image of evanescence. Yvonne Roeb (*1976) extends the exhibition with the aspect of power through her sculpture Totem (2012), the responded gaze in the relational space. The exhibition finishes with the complex diagram Real 2 (2012) by Marcus Steinweg (*1971), a collage map with its own text-elements as well as terms from science and philosophy.
With special thanks to Galerie Crone.