January 19 – February 16, 2013
•Und die Uhrzeit läuft einfach immer weiter•
The solo exhibition by sculptor and author Wilhelm Klotzek (*1980) »Und die Uhrzeit läuft einfach immer weiter« at NOTE ON is based on his intermedial concept of a »visual poem«. As he reconsiders the term »social sculpture«, he reprocesses the aftermath of the GDR and the german division. Raised in East Berlin, Klotzek studied art with Inge Mahn, Lothar Baumgarten and Else Gabriel among others. His practice is influenced by sculpture, poetry, bookmaking and architecture - with a particular emphasis on vivid forms of narration. Klotzek’s poems, short stories, songs, audio plays, artists’ books and sculptures link subjective and collective history, private and political events– i.e. by lending a voice to unpopular architecture in his book »Konkrete Oberflächen« (2011) that he published with Vincent Grunwald at AKV Verlag.
The entrance area features a room covered in brown panels with Skulpturenkollektiv Ostpro (2010) which Klotzek originally installed at Kunstraum »Splace« at the base of the Berlin TV Tower. Founded in 1991, Ostpro is a fair that highlights East German products. The three rectangular glass sculptures consist of steel constructions with inserted bull’s eye glass. Resembling display cases, these objects house »traditional« East German products, such as Werder Ketchup, Bautz’ner Senf, Spreewaldgurken or Rotkäppchen Sekt. However, because of the glass’s yellowish tint, the food products and delicacies are hard to identify. They are stored in a domesticated shop window, until their date of expiry and collective symbolic meaning is out of date.
The confrontation of the GDR’s history and interior design culture continues through the main room. Kanapee II (2012) and Lampe mit Behinderung (2012) are hybrid sculptures between display, exhibit objects and living room furnishings. Since his youth Klotzek has been closely observing the phenomenon of an epidemic of privately and publicly funded renovations and the accompanying elimination of historic traces during the post-wende era. In Die Wohnung (2012) two protagonists of the gentrification process are ridiculed as a talk between a real estate agent and a client escalates to a grotesque point. Another radio play, Tom und Chérie (2012), enacts the conflict of a young couple which is trapped in a poster and wants to flee but can’t seem to make any headway—the heart shaped image is part of the installation Kanapee II (2012). The muted color scheme and faux leather covered foam combined with loose fragments of words such as »AS-KUSS-PHALT«, »UNTEN« or »MITTE-BITTE«, are an invitation to take a break in honor of Tom und Chérie.
Klotzek’s work of varnished particleboard, steel, concrete, cable binders and plotted words is characterized by gestures of improvisation, bydysfunctional, awkward and spontaneous moments. His perception of post-Wende history is laced with »gravel« and uncertainties. The wall-piece Schwangere Auster (2012) projects the question »COMMENT VAS-TU AUJOURD’HUI?« into the listener and answers it with the expression »SCHWANGERE AUSTER«, Berlin’s nickname for the congress hall built in 1957 in Berlin-Tiergarten. Today’s »Haus der Kulturen der Welt« was a present made by the USA to West Berlin before the wall and meant as an architectural greeting from the »free world« to its East Berlin neighbours. Right next to it, Lampe mit Behinderung (2012) struggles to accomplish the task of emitting light through concrete slabs while its inner sides resemble an archaeological site. Keine Zeit, Mann! (2012) is mounted on the ceiling upside down. The movements of the ocherous stickman are frozen, his determined gesture of pace and pointy nose cannot hide the fact that he is rusty and the only change is in the display of a disposable digital clock.
Text: Ulrike Gerhardt