Artist Talk at the NODE Center in Berlin, June 26th

Logik als Inlay,Galerie cubus-m, Berlin (DE) 2013

08. Juni - 27. Juli 2013

June 08 - July 27 2013                                                       

Mara Diener I Anne Duk Hee Jordan

Felix Schneeweiß I Gal•la Uriol Jané

Mi - Fr  14 - 19 Uhr I Sa  11 - 19 Uhr

und nach Vereinbarung

Wed - Fri 2 p.m. - 7 p.m. I Sat 11 a.m. - 7 p.m.

and by appointment

Vernissage: 07. Juni 2013 - ab 19 Uhr

Opening: June 07 2013 - 7 p.m.




"Always the same… only I am no longer the same…"

Simone de Beauvoir

cubus-m presents the works of artists Mara Diener, Anne Duk Hee Jordan, GaI•la Uriol Jané and Felix Schneeweiß

The living - particularly against the background of radical shifts in modern life sciences -  has become fixed in reflexive (self-)perception. In a homogenous world memories and desires dissolve, becoming part of social memory, and in the end existing merely in empty spaces. The logic of our perception allows us to understand these processes and has come about through socialization. We question the unfamiliar less and less. Instead, we position the unknown as an inlay within our existing system of logic, giving it a new dialectic.

Through human interaction with the natural environment, social and ecological systems have lost their foreign quality and autonomy. Yet, for precisely this reason, these systems now appear even more inscrutable to us. How do we encounter the dynamic micro systems in which we move? For Mara Diener, Anne Duk Hee Jordan, GaI•la Uriol Jané and Felix Schneeweiß "illusion machines" emerge from these realms of experience - that humans have repeatedly deformed and pervaded with science - in the form of movement, space, light and meaning.

The "I understand" is only then initiated by a subjective shift out of one's own role, one's own corner, into another and by confronting the question of artistic work.

The inlays, which we implant, become bridges that lead to other contexts.

Mara Diener's works are outcomes fixed at a single point, without an exact temporal or spatial marker. Diener examines her themes intensively in models, sketches, on canvas and in video. However, Diener does not use these media in the traditional sequence: the sketches are not studies for works to come, the resulting work is the sum of everything, a staging in space through which the artistic process can be readily retraced. Diener's painting is a stage, and perspective and the opening up of space enables the viewer to become the protagonist. Like a dramaturge Diener places her works in filmic views, or "shots": close-up, medium shot, long shot.

This methodology gives her room to move back and forth between reduced, almost abstract space and clearly defined space. Mara Diener secures traces; the point on the image can become a single clue to an act. In both Ensemble and Euphemisms, 2013, found objects, sticks and panes of glass enter into a dialogue with painting. Is the end product the consequence of an investigation of a historical reflection? The protagonist is left to ponder the relationship between the various elements in the work. The artist's research process is like that of archeology and ethnography. The perceptible, temporal deposits as well as the deep, inner layers of cultural development are represented by the suggestion of objectivity. Mara Diener creates a hyperreal space for synoptic conflicts.

Anne Duk Hee Jordan relocates ecological systems into an urban environment, contrasting the dead (de-construction) with the living (re-construction). For Jordan renewal and consumption of energy as constant motion represent a parallel to human existence and, thereby, human organ systems. Jordan addresses interpersonal relationships, as well as the complimentary, productive or even destructive relationship to the environment.

"If the foundation is uneven, then the wall will never be straight," so says an Afghani proverb. In Anne Duk Hee Jordan's work Stones from Khandahar - TLS - Taliban Last Stand, 2013, she allows stones to speak as witnesses. The stones are originally from KAF (Khandahar Air Field), the U.S. military base in Afghanistan. KAF is not Afghanistan; it is considered American land, the last refuge in which the final major battle took place. The stones bear witness to the preceding and continuing conflict. They tell of the war and carry the marks of it with them. They expose one of many stories, which took place in the past and transport these stories to the viewer in the present. In the installation Stones from Khandahar - TLS - Taliban Last Stand  the stones are rubbed together mechanically, producing dust. This dust becomes a bridge for perceiving, a symbol of a long process. 

The work Alfred 2 is based on Hitchcock's film, The Birds. An apocalyptic vision, beyond causality and which descends upon reality from the outside, is illustrated through the duality of aggression and provocation. The photographs were taken with a wild starling in 2013 in New York. Alfred 2 is the follow-up work to Alfred, a performance intervention that took place in Berlin in 2011.

Felix Schneeweiß' works are representations of life. Schneeweiß questions the symbols of our society. In his installations and drawings Schneeweiß works with terms such as success and belonging, failure and ostracism, illusion and reality, past and future as central themes.

The autobiographical works utilize symbols, which we use to denote personal identification and identify others, and to which we submit in our pursuit of the fulfillment of desires. In his drawings, Schneeweiß reduces traditional elements of life or advertising to their linear structures, and allows the viewer to construct his or her own relationship to the represented objects. The fear of losing a logically comprehensible world induces us to preserve things. Schnieeweiß conveys this in the lost painting through the metaphor of a ruin that seems like a thumbnail view of a forgotten, destroyed world.

Time and again GaI•la Uriol Jané explores the potential of perspective in her work. In her painting she superimposes structures, which disturb our "logical" and habitual ways of seeing. For GaI•la Uriol Jané the search for perspective is also always a search for a new expression - the question of the development of art. In ebay-Table GaI•la Uriol Jané questions the significance and symbolism of the still life genre in contemporary times. Found objects from the internet marketplace ebay become a two dimensional still life. The objects appear as a surface on a traditional table; they are the cutout in "grandma's" tablecloth. A possible platform for a new still life comes into being.

In another work various wooden found objects are displayed as though they were insects in a display case. These are not entomologic allocations, but instead refer to the hierarchy of forms, all of the same material, allocated for different or similar social purposes.

In the artists' work his or her own exploration of the social and autobiographical events and processes becomes clear. As a result, the artists present the viewer with this labyrinthian space, making historical and aesthetic (false-)consciousness perceptible.

An excess of reflection remains.

Holger Marquardt