In its summer exhibition from June 11 through October 10, 2010
KICKEN BERLIN is delighted to present a cross section of works
by Dieter Appelt. In addition to photography and drawing, a
sculpture from his new series Section (2009) will also be on
view. One of the most important contemporary German photographic
artists, Appelt assumes an open-ended concept of work that
encompasses photography, film, and sculpture as well as drawing.
Reinterpreting several earlier works has been part of his
process of consistently questioning various media.
The two-part sculpture Section, which consists of an organically
shaped hollow body masked by a grated structure on its open
upper surface, physically resembles the human brain. The title
Section recalls the horizontal layers of computed tomography
scans’ medical depictions of the brain, and the mesh covering
also reflects this association. In the exhibition the sculpture
enters into dialog with the photographic tableaux and the ink
drawings Cineprisma (1997).
The integration of sculpture and photography in one concept is
essential to the work Section (2009): Section serves as a source
for future photographs. The transience of sculpture, for
instance when viewed from different perspectives, can be
recorded through photography. In some cases Appelt alludes to
examples of Brancusi’s sculpture photographs, which captured the
three-dimensional works in a new light.
Appelt’s images and objects deal, as one title suggests, with
the “Presence of things in time” (Präsenz der Dinge in der
Zeit). A wall-sized photograph such as Übertragung einer
Bewegung/Transmission of a Movement (1983) expands the
photographer’s/viewer’s actual movements in space into a total
of 160 film stills and thus makes palpable the movement of the
body (and of the camera) as well as the ramble of the gaze.
Practising a worldview based upon one’s self, using one’s own
body as a tool as Appelt did in earlier photographic works, is
evident in the variations on hand motifs. While the moment of
elemental transformation is central to the early work Vergrasung
der Hände/Grassing of the Hands (1978), the inscribed, numbered,
and black-and-white-colored hands in the newly interpreted,
nine-part Cine-Tableau Double Take No. 2 (2010) are
simultaneously medium and mode of expression. In the nine-part
tableau Wiesent-Cinema (2002), Appelt develops a twodimensional,
sequential image of an abstracted and sculptural
female body under fabric drapery.
The mirror motif can also be traced throughout Appelt’s work.
The two unique silver gelatin prints – positive and negative –
of Innerhalb bestimmter Zeitintervalle/Within Certain Intervals
of Time (2009) combine the gesture of showing and clutching with
the disintegrating mirrored surface, a peek “through the looking
glass” into a magically charged visual realm. The photographic
image as a space of transition recalls one of Appelt’s most
well-known works, Der Fleck auf dem Spiegel, den der Atemhauch
schafft/ The Mark on the Mirror Breathing Makes from 1978.
The KICKEN II exhibition space will show Jitka Hanzlová’s new
series, HIER/HERE, in which she grapples with the places and
people of Essen, where she has lived since 1982. A refugee to
Ruhr from Czechoslovakia, she began cautiously to approach her
new surroundings. Here she integrated herself into an unknown
world, gathering important experiences. Despite her completely
mature familiarity with the city, her life there is marked by a
feeling of foreignness and anonymity, of distance, which must
always be transformed anew into proximity. In HIER/HERE Hanzlová
develops her unique visual language further – a dense, formally
consistent weave of portrait, landscape, and still life – in
subtle tones of color. Works from the series are currently on
view in Essen’s Ruhrblicke exhibition on the occasion of the
European Capital of Culture Ruhr.2010.
(Translation by Rachel Marks)