Fiete Stolte
08 Sep - 10 Nov 2012
FIETE STOLTE: Library
Guest: EMILY HASS
FIETE STOLTE (*1979)
Despite our evident presence, we are getting lost in an notional absence" is given literal form in Fiete Stolte ́s new series of sculptures. With the metaphor of the unreadable book Stolte translates this contradiction into a reflection about our perception of time.
As its initial point Fiete Stolte introduces in his third solo show at Sassa Trülzsch a video with a repetitive performative nature. It features the artist's hand, peeling off loose papers from a pile. The turning pages show slightly changed positions of one and the same image which affects an animation in its purest sense.
A moth seemingly flutters around its axis. The frozen image is brought to life by the artist's action and creates the appearance of a simplified ticking clock. The pulse of the artist's hand turning the pages try to define a rhythm. His hand and arm become a metronome attempting to develop a regular cadence. At the heart of this lies Stolte's unique look at time that became the framework in which he creates his works.
In his Counter-Time he has developed a calendar of his own, that by dividing the week into eight instead of seven days, calculates time outside the rudimentary model. Ordinarily, society mandates that we adhere to conventional patterns of everyday behaviour. To avoid these societal rules, as Stolte does, is to operate outside the realm of reality and inside the realm of art. Stolte's work questions both those habitual practices that we perform, such as work or leisure as well as those that are determined by nature, such as sleep by night and activity by day.
Another volume in his collection of unreadable faux books hold the traces of their usage. Stolte constructed out of industrial steel giant pages which preserves the finger prints of everyone who will turn them. These traces will corrode the material and repeat the idea of the absent presence with its decomposition.
EMILY HASS (*1970) as our guest in the tower
The artist from New York explores the loss of three-dimensional space and the mapping of memory, has been invited to create a site-specific installation in the staircase tower. Beginning with a series based on her father's (since demolished) Berlin childhood home from which he fled in 1938, Hass uses archival architectural records to create drawings that are political in content and minimal in gesture and serve as a metaphor for the psychological trauma of displacement.
Guest: EMILY HASS
FIETE STOLTE (*1979)
Despite our evident presence, we are getting lost in an notional absence" is given literal form in Fiete Stolte ́s new series of sculptures. With the metaphor of the unreadable book Stolte translates this contradiction into a reflection about our perception of time.
As its initial point Fiete Stolte introduces in his third solo show at Sassa Trülzsch a video with a repetitive performative nature. It features the artist's hand, peeling off loose papers from a pile. The turning pages show slightly changed positions of one and the same image which affects an animation in its purest sense.
A moth seemingly flutters around its axis. The frozen image is brought to life by the artist's action and creates the appearance of a simplified ticking clock. The pulse of the artist's hand turning the pages try to define a rhythm. His hand and arm become a metronome attempting to develop a regular cadence. At the heart of this lies Stolte's unique look at time that became the framework in which he creates his works.
In his Counter-Time he has developed a calendar of his own, that by dividing the week into eight instead of seven days, calculates time outside the rudimentary model. Ordinarily, society mandates that we adhere to conventional patterns of everyday behaviour. To avoid these societal rules, as Stolte does, is to operate outside the realm of reality and inside the realm of art. Stolte's work questions both those habitual practices that we perform, such as work or leisure as well as those that are determined by nature, such as sleep by night and activity by day.
Another volume in his collection of unreadable faux books hold the traces of their usage. Stolte constructed out of industrial steel giant pages which preserves the finger prints of everyone who will turn them. These traces will corrode the material and repeat the idea of the absent presence with its decomposition.
EMILY HASS (*1970) as our guest in the tower
The artist from New York explores the loss of three-dimensional space and the mapping of memory, has been invited to create a site-specific installation in the staircase tower. Beginning with a series based on her father's (since demolished) Berlin childhood home from which he fled in 1938, Hass uses archival architectural records to create drawings that are political in content and minimal in gesture and serve as a metaphor for the psychological trauma of displacement.