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Anne Duk Hee JordanBrakfesten - La Grande Bouffe, Larvae, 2022Archival pigment print on Hahnemühle Photo Rag Baryta, custom made elm frame66 x 100 cm | 68,6 x 102,6 cm (framed)Edition of 6 + 2 A.P.The series of photographs is part of the series Brakfesten/La Grande Bouffe (2022). Over two years Anne Duk Hee Jordan, in collaboration with Pauline Doutreluingne, filmed and observed the natural reservoir of Södra Hällarna on Gotland, Sweden, where elm trees are currently under threat from elm beetles. However, rather than presenting a simplistic view on nature and its destruction, the works focus on the complex interdependencies between the trees and the beetles, who lay eggs in the bark which give life to larvae, who in turn form symbiotic relationships with fungi and attract insects, birds, and other animals in this cycle of decay and renewal. The title of the series reference La Grande Bouffe, the 1973 cult film that satirizes consumerism through a plot in which a group of friends indulges in a night of debauchery intent on eating themselves to death.
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Anne Duk Hee JordanBrakfesten - La Grande Bouffe, The Bark Beetle, 2023Archival pigment print on Hahnemühle Photo Rag Baryta, custom made elm frame66 x 100 cm | 68,6 x 102,6 cm (framed)Edition of 6 + 2 A.P.
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Anne Duk Hee JordanBrakfesten - La Grande Bouffe, Snailing, 2023Archival pigment print on Hahnemühle Photo Rag Baryta, custom made elm frame66 x 100 cm | 68,6 x 102,6 cm (framed)Edition of 6 + 2 A.P.
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Anne Duk Hee JordanBrakfesten - La Grande Bouffe, Jump Spider, 2023Archival pigment print on Hahnemühle Photo Rag Baryta, custom made elm frame66 x 100 cm | 68,6 x 102,6 cm (framed)Edition of 6 + 2 A.P.
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Anne Duk Hee JordanBrakfesten - La Grande Bouffe, The Bark Beetle Larvae, 2023Archival pigment print on Hahnemühle Photo Rag Baryta, custom made elm frame66 x 100 cm | 68,6 x 102,6 cm (framed)Edition of 6 + 2 A.P.
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Felix KiesslingDer Wanderer, 2023Varnish, GHB on canvas240 x 160 cm
Technically, the application of GHB (gamma hydroxybutyrate) directly on the canvases further dissolves the rigid lines and edges of lacquer or paint, allowing forms and colors to blend seamlessly. This dissolution is not merely an aesthetic choice but draws a parallel to thermal imaging, illustrating that forms lack hard shapes and are interconnected. The incorporation of GHB alludes to its recreational purpose as a drug that induces states of altered perception and allows users to momentarily escape reality.
The works in the series result in composites of layered images, each imbued with its ephemeral significance, that encapsulate the concept of dissolution as emptiness; the dissolution of distinct shapes as they delve into the atomic nuclei surrounding us, and the subsequent idea that nothing is composed of tangible matter but rather charge.
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Colin SnappNational Charter, 2013-2023Archival pigment print on Hahnemühle Photo Rag Baryta101,6 x 77 cm | 107 x 74,4 cm (framed)Edition of 1 + 1 A.P.
National Charter re-contextualizes landscapes imbued with contemporary visual consumer culture symbols. In the photographs of a human-deserted world, the viewer is forced to look through nature – branches and leaves – only to find company logos and corporate trademarks – the Sheraton and Barclays. This incongruousness brings to the fore the contrast between the artificial and natural environment, whilst simultaneously pointing to our eyes’ preference for the former.
The motifs Snapp selects are also partially obscured by shadows of objects that lie outside the picture, forming another duality in his work. They are excerpts from a reality, shot in motion, with an air of mishap causality but also of careful selection, in what appear as intrusive and trespassing moments.
In all, they convey an eerie feeling of documents left behind for a time capsule; the scenes appear abandoned, almost post-apocalyptic, they show no evidence of people, no temporal localization. They represent the empty and vast spaces that characterize contemporary geography, particularly in the United States. This sense of emptiness is the result of the ephemeral circumstances in which they were taken – while traveling.
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Colin SnappNational Charter, 2013-2023Archival pigment print on Hahnemühle Photo Rag Baryta101,6 x 77 cm | 107 x 74,4 cm (framed)Edition of 1 + 1 A.P.
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Colin SnappNational Charter, 2013-2023Archival pigment print on Hahnemühle Photo Rag Baryta101,6 x 77 cm | 107 x 74,4 cm (framed)Edition of 1 + 1 A.P.
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Sinta WernerTektonische Interferenzen, 2023Duraclear print mounted between glass, silkscreen printing plates195 x 177 x 236 cm
The artist chose a pre-fabricated building in Berlin as her motif, the architectural structure of which is emphasized by the two shades of pink and dark pink. The photo is laminated onto four glass panels, which are placed diagonally staggered in space and thereby become structured architecture in their turn. The motif is fragmented and robbed of its solidity by the transparency. The repetitive, modular architecture is reinterpreted through the superimposition, and its perception is completed in the brain, experiencing a sense of meaning, yet is constantly irritated anew by a constant visual shifting. Depending on their point of view, viewers are presented with new perspectives and interpretations of the fragmented architecture as they move around.
(adapted from the exhibition text "Gegenläufige Verschiebung" by Lena Ganahl)
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Su Yu HsinParticular Waters, 2023Prints on dummy wafers, plexiglass30 cm diameter, 50 x 50 x 3 cm (framed) (each)
Art Düsseldorf 2024: Anne Duk Hee Jordan, Felix Kiessling, Colin Snapp, Su Yu Hsin and Sinta Werner
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