MMK Zollamt

" ___" Temporarily invisible

29 April – 5 June 2011

MMK Zollamt Raumansicht, „ ___ ” Vorübergehend unsichtbar

Alicja Kwade, 1979 Liter bis zum Anfang, 2010
Wolfgang Plöger, Take it to the nation (2011)
Wolfgang Plöger, The dark side of the light, 2007/2011
Foto: Peter Mc Clennan

Matthias Meyer, Saved from Fire

Foto: Thies Rätzke

Matthias Meyer, Saved from Fire

Foto: Thies Rätzke

Wolfgang Plöger, The dark side of the light (9 Transportkisten für schatten) (Detail )

Pappe, Holz, Lack Ausstellungsansicht: „I did not know anybody was there”, Galerie Konrad Fischer / Berlin

Wolfgang Ploeger, The dark side of the light, 2007/2011

Transportkisten für Schatten
Raumansicht MMK Zollamt 2011,
Courtesy: Konrad Fischer Galerie, Düsseldorf / Berlin
Foto: Peter McClennan, 2011

Matthias Meyer, The Black Museum
Alicja Kwade, Teleportation (Kerzen) 2010

Glas, Kerzen
Courtesy Johann König, Berlin
Foto: Roman März

Alicja Kwade, Watch (Chen, Wolfgang, Martin...), 2010

verspiegeltes Glas, elektronisches Uhrwerk, Mikrophpne, Verstärker

Alicja Kwade, 1979 Liter bis zum Anfang, 2010

2240 kg zermahlene Champagnerflaschen mit Etikettierung,
100 cm, 260 cm,
Raumansicht MMK Zollamt, 2011
Courtesy: Johann König, Berlin
Foto: Peter McClennan, 2011

Raumansicht MMK Zollamt mit Arbeiten von Alicja Kwade, Wolfgang Ploeger

Alicja Kwade, Teleportation (Kerzen), The dark side of the light, 2007/2008
Wolfgang Plöger, The dark side of the light, 2007/2011,
Wolfgang Plöger, Take it to the nation, 2011
Foto: Peter Mc Clennan

Wolfgang Ploeger, Take it to the nation, 2011

Installation / Drei 16mm Filmprojektionen,
Raumansicht MMK Zollamt, 2011,
Foto: Peter McClennan, 2011

The exhibition will present young artists who depict absence and ephemerality in their art. Their works direct the viewer’s gaze to blank spaces and visualize the non-existent, impalpable and invisible. Matthias Meyer’s film The Black Museum affords us a look behind the scenes at the Louvre. The paintings in the museum have been blackened out in the film. They thus become projection surfaces for the viewer’s imagination and, by concealing what constitutes their core value they heighten their claim to autonomy. In a similar manner Alicja Kwade’s blackened clock objects seem to deny us the opportunity to contemplate the passing of time. Ultimately, however, their invisibility increases our perception of time. The Transport Crates for Shadows by Wolfgang Plöger avail themselves of the formal language of Minimal Art. They materialize the incidence of light and the shadows cast by objects, thus recording an instant for eternity.

In Cooperation with:
Jürgen Ponto Stiftung zur Förderung junger Künstler. 


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