call of the void II

2019/15:50/4-channel video on monitors (colour, sound, loop)

„It (the seduction of the beach) is about the interface of continents and oceans, the potential of fear of being faced with the enormity of a water planet, the seduction of being at ends, of earth, land, and the imprint of urban life. It is about essences, of sand as the earth`s constituent or residual matter, as it dissolves into the shallows of oceanic vastness. (…) We are drawn to edges: the narrative power of looking over the cliff, the roof of a tall building, wanting a seat at the side of the pool, a corner office.“ (Carolyn Cartier, Seductions of Places)
 
The modern subject is a subject that’s always on the move. But how are the places consumed by those who visit them? The spatial encounters in this exhibition perform places and produce landscapes by dissecting elements of storytelling and relating them to the subjective perception of the back and forth with the Unknown.
 
Nature is often presented as this fascinating object that functions as a stage for our self-presentation. We are seeking to find ourselves in the landscape, on a quest to reconnect to the fragments of ones being. Our search is a search for authenticity or a moment of loosing control in a regulated world.
On this journey we encounter places shaped by the interaction between humans and nature that have to be closely monitored and maintained to ensure their existence. We discover myths of origin tying their narrative to the sand, cliffs or rocks: Neringa the giantess that formed the Curonian Spit with her own hands and the Ginnungagap, the abyss which came before genesis in the north mythology. We wander, turn and listen while exposing one layer of potential memory after another.

 

supported by: centar savremene umjetnosti crne gore, Austrian Embassy Podgorica
exhibited at:
perjaniki dom/solo-show/contemporary art center montenegro/2019
kunsthaus glarus/group show heimspiel/2020/photo: CE

Evamaria Müllers Videoinstallation behandelt das Bestreben, Erinnerungen zu behalten und Lücken zu füllen. Diese Art Verlustangst wird auf den einzelnen Bildschirmen einerseits durch die Suche nach Identität, aber auch durch die aktive Gestaltung von Gedächtnis ausgedrückt, andererseits zeigt eines der Videos, wie durch umfangreiche künstliche Aufforstung die natürliche Versandung eines litauischen Meeresufers gestoppt wird. In allen Fällen handelt es sich um Konstruktionen von einem idealisierten Bild, das sich nur durch starke Kontrolle aufrechterhalten lässt. Otto Bonnen (Kurator Heimspiel)

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