{"id":19172,"date":"2022-12-06T11:10:06","date_gmt":"2022-12-06T10:10:06","guid":{"rendered":"https:\/\/www.kunstmuseum.de\/?page_id=19172"},"modified":"2022-12-06T11:10:07","modified_gmt":"2022-12-06T10:10:07","slug":"blow-up-the-growth-of-things-works-explained","status":"publish","type":"page","link":"https:\/\/www.kunstmuseum.de\/en\/blow-up-the-growth-of-things-works-explained\/","title":{"rendered":"Blow Up! The growth of things \u2013 works explained"},"content":{"rendered":"\n

Like a rhizome, a widely branching root system, the exhibi\u00adtion Blow Up!<\/em> is permeated by the most diverse themes of our time, which, in the broadest sense, deal with the growth of things. In a variety of ways, the new works in the collec\u00adtion negotiate, explore, critique, carica\u00adture, and satirize tradi\u00adtional notions of growth. The focus is on the temporal and spatial dimen\u00adsions of growth. However, with an impres\u00adsive addition of more than eighty recent donations, the exhibi\u00adtion also focuses on the growth of the museum\u2019s collec\u00adtion itself.<\/strong><\/p>\n\n\n\n

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In the exhibi\u00adtion, two different concepts of growth repeatedly intersect: organic and cultural growth. Symbolic of these two tenden\u00adcies is Phyllida Barlow<\/strong>\u2019s Blob<\/em> at the beginning of the exhibi\u00adtion, a \u201csingle-celled organism\u201d that inflates into space and stands for the organic and evolu\u00adtio\u00adnary aspects of growth. In contrast, the video Remem\u00adbe\u00adring Paral\u00adin\u00adguay<\/em> by Gary Hill<\/strong> refers to a cultural evolution of humankind. The video first returns percep\u00adtion to a zero point in the darkness before a woman strides out of nowhere toward the visitors. Her power\u00adfully shouted sounds suggest a pre-lingu\u00adistic or even future form of communication.<\/p>\n\n\n\n

The unfolding of different forms of space and its explo\u00adra\u00adtion are the focus of the photo\u00adgra\u00adphic series that follow: Also in darkness, Daniel Boudinet<\/strong> stages different spatial situa\u00adtions within his Parisian apartment at night. His images are the result of a technical play with light and shadow, as well as with trans\u00adpa\u00adren\u00adcies, which is why he is consi\u00addered one of the early pioneers of artistic color photo\u00adgraphy. The specific blue-green light immerses the furnis\u00adhings and the rooms with their openings in a myste\u00adrious and at times eerie atmosphere.<\/p>\n\n\n\n

The contras\u00adting play of (archi\u00adtec\u00adtural) distance and (intimate) proximity, privacy and public space is also continued by Alain Fleischer<\/strong> with his photo\u00admon\u00adtages. He attempts to reverse the voyeu\u00adristic activity of photo\u00adgraphy and turn it into an exhibi\u00adtio\u00adnistic activity by projec\u00adting porno\u00adgra\u00adphic images onto the surroun\u00adding fa\u00e7ades.<\/p>\n\n\n\n

Adam Putnam<\/strong> explores the different qualities and percep\u00adtions of (inter)spaces. Influ\u00adenced by the eighte\u00adenth-century archi\u00adtec\u00adtural fantasies of Giovanni Battista Piranesi, he is especially interested in the psycho\u00adlo\u00adgical qualities and percep\u00adtions, as well as in spatial geometry and perspec\u00adtive illusion. On the one hand, he relates indivi\u00addual isolated archi\u00adtec\u00adtural fragments and objects within his abstract photo\u00adgraphy to the abstract surroun\u00adding space. On the other hand, he forces his own body into direct physical inter\u00adac\u00adtion with the space in between by pressing himself into books\u00adhelves and cupboards.<\/p>\n\n\n\n

Based on his interest in the intan\u00adgible, as well as in subcon\u00adscious connec\u00adtions, with Zweisam\u00adkeitsi\u00adma\u00adgi\u00adnie\u00adrung<\/em> (Imagi\u00adna\u00adtion of Together\u00adness), J\u00fcrgen Klauke<\/strong> also negotiates the relati\u00adonship between the subject and the material world. In his stagings of psycho\u00adlo\u00adgi\u00adcally highly charged situa\u00adtions, the human being becomes a mere prop. While in the first tableau vivant<\/em>, the artist exposes himself to the leaden gravi\u00adta\u00adtional field, in the two following images, his presence is lost in a phantom-like state. The tables, balloons, bowls, and pillows form their own metaphy\u00adsical reality and thereby push the existen\u00adtial question regarding the location of the subject to the fore.<\/p>\n\n\n\n

Many of Stefan Thiel<\/strong>\u2019s paper cut-outs are based on photo\u00adgraphs he took in the urban context of Berlin. What interests him about the cut-out or silhou\u00adette, with its long cultural history, is the possi\u00adbi\u00adlity of formal reduction of space and object. At the same time, the medium estab\u00adlishes a distance to what is depicted. As in the cut-out, various themes overlap in his works. The idea of sensua\u00adlity and desire is one of his basic motifs. Despite his explo\u00adra\u00adtion of sexuality, eroticism, and fetish, especially within queer commu\u00adnities, his works occasio\u00adnally obscure more than they actually reveal. This is also true of the photo\u00adgra\u00adphic series Silhou\u00adetten<\/em>, which depict people from his environ\u00adment with black stockings pulled over their heads.<\/p>\n\n\n\n

Conce\u00adaling, even covering up or repres\u00adsing, is part of US American (colonial) history and has played a key role in this up to the present day. A black-painted but badly battered plaster bust of a white man with a necktie has landed on the floor, standing in front of a large ensemble of paint buckets piled into leaning columns. The African American artist Rodney McMillian<\/strong> has linked the nameless bust as a found object to an allusion to the US American prefe\u00adrence for the neoclas\u00adsical archi\u00adtec\u00adtural element of the column.<\/p>\n\n\n\n

In contrast, the archetype of US American archi\u00adtec\u00adture, the white man\u2019s log cabin, is the focus of Olga Koumoun\u00addouros<\/strong>\u2019s sculpture Sagamore: The Good Life<\/em>. \u201cSagamore\u201d was the name given to the leaders of extended families of the Indige\u00adnous North American Abenaki. The log cabin archi\u00adtec\u00adture here has a closed form: Without windows or doors and with sides of equal size, it appears hermetic and forbidding as a poignant version of a self-suffi\u00adcient dwelling. In this context, the title of Johannes Wohns\u00adeifer<\/strong>\u2019s wall work, which refers to the United States, serves as a biting commen\u00adtary by questio\u00adning the legacy of Western colonia\u00adlism: not a flag not even a map<\/em>. It contrasts with Goran Tomcic<\/strong>\u2019s inter\u00adpre\u00adta\u00adtion of the American flag, which he designed as a hologram collage.<\/p>\n\n\n\n

With her series LA Gun Club<\/em>, Olga Koumoun\u00addouros<\/strong> takes aim at the gun enthu\u00adsiasm deeply rooted in American society: At three shooting ranges in Los Angeles, she used almost all commer\u00adcially available firearms to shoot at pieces of Kevlar, a material that is consi\u00addered bullet\u00adproof, and marked the bullet holes with the names of the gun models. It becomes apparent that this material is not at all as invul\u00adnerable as one has always claimed it to be. Due to the incre\u00ada\u00adsing number of killing sprees in the US-American civil society, this work has an explosive topicality.<\/p>\n\n\n\n

Olga Koumoun\u00addouros<\/strong>\u2019s Economic Recovery<\/em> is a vehicle charac\u00adte\u00adrized by two brand-new SUV tires and a sports jersey stretched over a light metal frame. These elements of the osten\u00adta\u00adtious way of life are countered by the fabric element at the rear end, reminis\u00adcent of empty scrotums, on which the stoppers of a walking aid are also mounted.<\/p>\n\n\n\n

Some thirty 30 years earlier, Fred Lonidier<\/strong> photo\u00adgra\u00adphed the arrests of twenty-nine demons\u00adtra\u00adtors in San Diego. They had been peace\u00adfully demons\u00adtra\u00adting against the Vietnam War and were then arrested and submitted to \u201ccriminal identi\u00adfi\u00adca\u00adtion\u201d before being loaded onto a police bus. Most of them were students. Lonidier, himself a student, stood right next to or behind the police photo\u00adgra\u00adpher. Many of the photo\u00adgraphs are charac\u00adte\u00adrized by a mood among the arrestees, as well as among some of the police officers, that is reminis\u00adcent of a grotesque Happening. Between the years 1961 and 1975, some 58,000 US-American soldiers and well over 1.2 million Vietna\u00admese people died in the Vietnam War.<\/p>\n\n\n\n

The activist artist Tejal Shah<\/strong> has taken found, hand-colored, and digitally retouched photo\u00adgraphs from the flood of media images to give an idea of civilian casual\u00adties from the last sixty years. Among them is a Buddhist monk who burned himself to death as the most radical form of political protest against China\u2019s brutal oppres\u00adsion of Tibet. Within the series, the artist shows in parti\u00adcular the lifeless bodies of boat refugees, thereby revealing the failure of border crossings as a result of flight and migration. The floating staging lends expres\u00adsion to the state of unbeco\u00adming<\/em>.<\/p>\n\n\n\n

In the late 1990s, the feminist artist Wynne Greenwood<\/strong> founded the multi\u00admedia band Tracy + The Plastics<\/em> as its only real member, embodying all the other fictional members herself. Working between different disci\u00adplines and in the tension between prescribed actions and free impro\u00advi\u00adsa\u00adtion continues in the instal\u00adla\u00adtion Peas<\/em> (2007). Here, the artist enters into a direct dialogue with something physi\u00adcally absent. In this case, her anxiety-driven belly and her self-contrived worries engage in an argument. Greenwood repeatedly employs the medium of drawing in a targeted manner to visualize invisible forces, such as her own fears. As is clear from the super\u00adfi\u00adcial and rheto\u00adrical dialogue with an accusa\u00adtory undertone, the drawn \u201cpea faces\u201d are carica\u00adtures of bourgeois viewpoints. The childlike repre\u00adsen\u00adta\u00adtions contrast with the \u201cadult\u201d issues of power and repre\u00adsen\u00adta\u00adtion, which are discussed here on a second level.<\/p>\n\n\n\n

The painter Mariela Scafati<\/strong> conti\u00adnu\u00adally expands the bounda\u00adries of her disci\u00adpline by assemb\u00adling canvases into moving bodies. The spatial relati\u00adons\u00adhips, as well as the demar\u00adca\u00adtion of the canvases from one another\u2014for example, in the form of the indivi\u00addual color shades and intensities\u2014reflect the idea of social struc\u00adtures in an abstract way. The artist orches\u00adtrates her canvases via ropes, percei\u00adving them as exten\u00adsions of her own body. The rope technique itself is borrowed from the art of shibari<\/em>, a Japanese bondage tradition, the erotic potential of which is used to find aesthetic body poses in space.<\/p>\n\n\n\n

On the way to the next room, one passes the early video work Rock City Road<\/em>, created in Woodstock, New York by the video pioneer Gary Hill<\/strong>. The work contains multiple layers of images of walking on various surfaces, including a sidewalk and a snow-covered terrain. The images were captured and edited using video recorders. The editing processes\u2014fast forward, rewind, pause, and \u201cscratching\u201d through and between images\u2014remain present, as do the sounds they produce. These noises function as a metapho\u00adrical link between the materia\u00adlity of the world and the electronic media.<\/p>\n\n\n\n

With his impres\u00adsive pneumatic ensemble Fleurs du Mal<\/em> (The Flowers of Evil, 1969)\u2014among the first of his so-called \u201cInfla\u00adt\u00ada\u00adbles\u201d\u2014Otto Piene<\/strong> reveals most clearly the reciprocal relati\u00adonship between growth and decay. The title is borrowed from Charles Baudelaire\u2019s eponymous book of poetry, written in the mid-nineteenth century. The play with natural forces and elements also continues in Piene\u2019s ceramic works, which he himself described as his \u201cheavy paintings.\u201d For Piene, all elements\u2014light, air, water, and fire\u2014intertwine in this medium. He is parti\u00adcu\u00adlarly interested in the play of light, which results from the refrac\u00adtion of light on the broken surface of the reliefs, as well as from the appli\u00adca\u00adtion of the glazes.<\/p>\n\n\n\n

Piene\u2019s wall works in clay enter into a dialogue with the \u201cwhipped\u201d ceramic pictures by K. O. G\u00f6tz<\/strong>. What both artists have in common is that they only found their way to working with clay at an advanced age and realized their wall reliefs in the same workshop in Cologne. The painter\u2014teacher of Gerhard Richter, Sigmar Polke, and Franz Erhard Walther, among others\u2014of the Art Informel that developed in Europe from the 1940s onwards, and who is best known for his use of squeegees, describes the result as \u201can explo\u00adra\u00adtion of the material, in the way I can drive it forward.\u201d The intrac\u00adta\u00adbi\u00adlity of the tough material prompted him to shape the mass at times using his entire body. For G\u00f6tz, the sponta\u00adneous and gestural aspect of Art Informel lay in the furious beating around himself.<\/p>\n\n\n\n

In both photo\u00adgraphy and film, blow-up<\/em> is also unders\u00adtood as the technical possi\u00adbi\u00adlity of enlar\u00adge\u00adment. Jochen Lempert<\/strong>, a biologist by training, is also a master of playing with size. His analog black-and-white photo\u00adgraphs stand out sensually due to their coarseness and thus develop a proximity to the medium of drawing. From the field of natural science, he transfers the method of classi\u00adfi\u00adca\u00adtion to his own artistic practice. By pursuing aesthetic criteria in collec\u00adting, archiving, evalua\u00adting, and compiling his motifs, however, he under\u00admines thinking in terms of strict classi\u00adfi\u00adca\u00adtions. The animals portrayed frontally are either living or already extinct species, as well as effigies of them. Charac\u00adte\u00adristic of the works is that, despite the documen\u00adtary approach, the animals display humanized features.<\/p>\n\n\n\n

The black-and-white film I\u2019m sorry but I don\u2019t want to be an Emperor<\/em>\u2026<\/em> by Jordan Wolfson<\/strong> features a man without a head who commu\u00adni\u00adcates emotio\u00adnally in sign language. The title refers to Charlie Chaplin\u2019s speech at the end of the satirical film The Great Dictator<\/em> (1940). Wolfson trans\u00adlated this speech into the soundless gestures of sign language, accom\u00adpa\u00adnied by the rattling of a 16mm projector. In doing so, he allows Chaplin to return to his original channel of commu\u00adni\u00adca\u00adtion: silent film. By placing the figure in front of a sterile white background, Wolfson drew inspi\u00adra\u00adtion from the Danish artist J\u00f8rgen Leth\u2019s short film The Perfect Human<\/em> (1967), which deals with the impos\u00adsi\u00adbi\u00adlity of human perfec\u00adtion. By bringing these two extremes together, Wolfson positions Chaplin\u2019s idealism alongside a nihilistic view. At the same time, with this juxta\u00adpo\u00adsi\u00adtion, he reflects on the futility of human action and despair, as well as on values and ideals in times of political oppression.<\/p>\n\n\n\n

Ten years after the fall of the Berlin Wall, Ren\u00e9 L\u00fcck<\/strong>\u2019s wall relief BRD<\/em> addresses the division of Germany and, with this, the compe\u00adti\u00adtion between two political systems. The term AC\/DC<\/em> (alter\u00adna\u00adting current \/ direct current) had been taken up by the famous Austra\u00adlian rock group in 1973 and appro\u00adpriated as its name. \u201cRen\u00e9 L\u00fcck is an archaeo\u00adlo\u00adgist of collec\u00adtive memory. With his instal\u00adla\u00adtions, he uncovers hidden images and symbols concealed in the deeper layers of our social memory and brings them to the center of our attention. L\u00fcck turns primarily to objects and repre\u00adsen\u00adta\u00adtions that are consi\u00addered symbols of political self-deter\u00admi\u00adna\u00adtion and have thus become icons of collec\u00adtive memory.\u201d (Michael Dethl\u00adeffsen) The theme of collec\u00adtive memory is also taken up by Goran Tomcic <\/strong>with his Baby Blue Flag<\/em>, comme\u00admo\u00adra\u00adting the people who contracted HIV and fell ill due to AIDS in the United States in the 1980s.<\/p>\n\n\n\n

Also touching on the theme of histo\u00adrical develo\u00adp\u00adments is the title of the large-format painting What looks good today may not look good tomorrow<\/em> by Michel Majerus<\/strong>. Here, the work serves to comme\u00admo\u00adrate the artist who died in a plane crash on November 6, 2002 [see wall text].<\/p>\n\n\n\n

What is central to all these works is, more than anything else, the search for orien\u00adta\u00adtion, a need that is perceived with incre\u00ada\u00adsing intensity in the age of globa\u00adliz\u00ada\u00adtion. Mapping the unmapp\u00adable is what Nathan Carter<\/strong> attempts to do with his wall reliefs in a deliber\u00adately na\u00efve aesthetic, in order to point to invisible commu\u00adni\u00adca\u00adtion systems and mobility struc\u00adtures in the urban context. As an artist, he uses his reliefs to question the drawing of terri\u00adto\u00adrial boundaries.<\/p>\n\n\n\n

At the beginning of the exhibi\u00adtion, one can experi\u00adence how movement, action, and the search for meaning\u00adful\u00adness develop out of the black depth of space\u2014virtually from nothing. This search for meaning\u00adful\u00adness is taken up by the exhibits in numerous ways and comes to a head towards the end of the exhibi\u00adtion: Johannes Wohns\u00adeifer<\/strong> lets us step in front of a white picture covered with a real camou\u00adflage net and thus hidden from our gaze, the picture thus rigorously denied to our vision.<\/p>\n\n\n\n

Also at the end of the exhibi\u00adtion, a \u201cmaterial bubble\u201d by Phyllida Barlow<\/strong> hangs from the ceiling, similar to the one at the beginning of the exhibi\u00adtion, but now much larger and more threa\u00adtening and mutated into a kind of multi\u00adfocal surveil\u00adlance camera: Under it, one finally leaves the exhibi\u00adtion with the feeling of being oneself observed or even monitored.<\/p>\n\n\n\n

All new acqui\u00adsi\u00adtions are thanks to generous collec\u00adtors and artists, to whom we would like to express our sincere gratitude for the works of art they have donated and for their extra\u00ador\u00addi\u00adnary commitment.<\/strong><\/p>\n<\/div>\n\n\n\n

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Phyllida Barlow, Untitled <\/em>(Blob, yellow), 2010<\/figcaption><\/figure>\n\n\n\n
J\u00fcrgen Klauke, Zweisam\u00adkeitsi\u00adma\u00adgi\u00adnie\u00adrung <\/em>(detail), 1996<\/figcaption><\/figure>\n\n\n\n
Rodney McMillian, Untitled (Unknown)<\/em>, 2006, S\u00e4ulen, B\u00fcste (Leinwand,
Acryl\u00adfarbe, leere Farbdosen, gefundene Gipsb\u00fcste), Gesamtma\u00df
variabel, \u00a9 Rodney McMillian, courtesy der K\u00fcnstler und Vielmetter
Los Angeles, Foto: Gene Ogami, Schenkung aus Privatsammlung<\/figcaption><\/figure>\n\n\n\n
Goran Tomcic, Flag<\/em>, 2008 and Olga Koumoun\u00addouros, Sagamore: The Good Life<\/em>, 2005<\/figcaption><\/figure>\n\n\n\n
Fred Lonidier, aus der Serie: 29 Arrests: Headquar\u00adters of the 11th Naval District, May 4, 1972,<\/em>
San Diego<\/em> (Detail), 1972, 29 Schwarz\u00adwei\u00df\u00adfo\u00adto\u00adgra\u00adfien und ein Deckblatt, Ed. 2\/3, je 12,8 x 20,3 cm,
Kunst\u00admu\u00adseum Wolfsburg, Schenkung Privat\u00adsamm\u00adlung, Berlin, \u00a9 Fred Lonidier<\/figcaption><\/figure>\n\n\n\n
Wynne Greenwood, Peas<\/em>, 2007<\/figcaption><\/figure>\n\n\n\n
Mariela Scafati, Se aleja y se acerca (It moves away, and it gets closer<\/em>), 2021<\/figcaption><\/figure>\n\n\n\n
Otto Piene, Fleurs du Mal<\/em>, 1969<\/figcaption><\/figure>\n\n\n\n
<\/figure>\n\n\n\n
Ren\u00e9 L\u00fcck, BRD<\/em>, 1999 and AC\/DC<\/em>, 1999<\/figcaption><\/figure>\n\n\n\n
Michel Majerus, What looks good today may not look good tomorrow<\/em>, 1999,
Acryl auf Leinwand, \u00a9 Michel Majerus, Foto: Marek Kruszewski<\/figcaption><\/figure>\n\n\n\n
Phyllida Barlow, Untitled (Security Camera)<\/em>, 2010, Styropor, Papier, Stoff, Farbe, Spr\u00fch\u00adfarbe,
Holz ca. 180\u2009x\u2009180\u2009x\u2009180 cm, Kunst\u00admu\u00adseum Wolfsburg Schenkung aus Privat\u00adsamm\u00adlung,
\u00a9 Phyllida Barlow, Foto: Marek Kruszewski<\/figcaption><\/figure>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Like a rhizome, a widely branching root system, the exhibi\u00adtion Blow Up! is permeated by the most diverse themes of our time, which, in the broadest sense, deal with the growth of things. In a variety of ways, the new works in the collec\u00adtion negotiate, explore, critique, carica\u00adture, and satirize tradi\u00adtional notions of growth. The [\u2026]<\/p>\n","protected":false},"author":5,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"Blow Up! The growth of things"},"yoast_head":"\nBlow Up! The growth of things \u2013 works explained - Kunstmuseum Wolfsburg<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.kunstmuseum.de\/en\/blow-up-the-growth-of-things-works-explained\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Blow Up! The growth of things \u2013 works explained - Kunstmuseum Wolfsburg\" \/>\n<meta property=\"og:description\" content=\"Like a rhizome, a widely branching root system, the exhibi\u00adtion Blow Up! is permeated by the most diverse themes of our time, which, in the broadest sense, deal with the growth of things. In a variety of ways, the new works in the collec\u00adtion negotiate, explore, critique, carica\u00adture, and satirize tradi\u00adtional notions of growth. 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