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Galeriedetails
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Kontakt:
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Thomas Rehbein Galerie |
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Thomas Rehbein |
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Aachener Straße 5 |
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50674 Köln |
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Deutschland |
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+49 221 310 1000 |
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Fax:
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+49 221 310 1003 |
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Die Adresse der Ausstellung lautet:
Thomas Rehbein Galerie
Aachener Straße 5
Tel.:+49 221 310 1000
50674 Köln
Beschreibung der Ausstellung:
“Life is a tragedy when seen in close-up, but a comedy in long-shot.”
Charlie Chaplin
In dieser Ausstellung widmet sich Tina Hage der Befragung von Konzepten zu fortdauernden Handlungen, Zeichen und scheinbar stumpfsinnigen Aktionen und nimmt diese als Ausgangspunkt für eine allgemeine Reflektion des Ideenguts innerhalb der zeitgenössischen Kunst von heute.
Die Bilder, die sich auf Bildwelten aus den Medien, der Geschichtsschreibung, der Kunst und der Populärkultur beziehen, sowie ihre eigenen Fotografien sind mit verborgenen Botschaften aufgeladen. Findig werden diese Bilder neu zu Eigen gemacht und neu gestaltet, um neue und überraschende Bedeutungen hervorzubringen. Erneut betrachtet offenbaren diese originellen und heiter erscheinenden Konstellationen unbegrenzte Möglichkeiten. Auf diese Weise können selbst die zeitlosesten Gesten einer Neubetrachtung unterzogen werden. Hage führt in dieser Ausstellung drei unterschiedliche künstlerische Schaffensbereiche zusammen wo das Figurative, die Landschaft und die Abstraktion in fotografische, skulpturale und installative Zeichen kulminieren. Mit Bedacht wurden die Arbeiten platziert, um einen Raum zu schaffen in dem ungeahnt neue Beziehungen zwischen den Arbeiten bestehen und wahrlich gedeihen können.
Die Arbeiten der Werkreihe Rehearsal erinnern an Stummfilmklassiker und an das Theater, zwei Welten in denen Darsteller vor allem über die Körpersprache kommunizieren. Und wie in jeder Sprache, liegt der Schlüssel zur wahren Bedeutung oftmals in den feinen Nuancen.
In der Serie Scene from Above werden von Tina Hage selbst abgelichtete oder gefundene Luftaufnahmen anderer Fotografen auf einfache Formen und Farben reduziert. Die hyperrealen, detailreichen Aufnahmen aus der Serie The place here werden zu Skulpturen bzw. Installationen abstrahiert. Sowohl die Reduktion auf klare Formen und Farben als auch die Überführung des fotografischen Ausgangsmaterials in eine neue dreidimensionale Form bewirken schließlich eine gesteigerte Unmittelbarkeit in der Wahrnehmung der Arbeiten. Die Überführung der Fotografie in ein skulpturales Format schafft Raum für eine Neubewertung des Gegenstands und für eine Hinterfragung von Aspekten der Autorschaft, des Urheberrechts oder dem Medium Fotografie an sich als Medium der künstlerischen Produktion und der Präsentation.
(Auszug aus einem Text von Keh Ng, 2015)
(Übersetzung Miriam Walgate, 2015)
“Life is a tragedy when seen in close-up, but a comedy in long-shot.”
Charlie Chaplin
Tina Hage’s exhibition explores concepts of never ending actions, signals and seemingly hollow acts as a starting point from which to consider ideas within contemporary art today. The images she refers to from the media, history, art and popular culture as well as her own photographs are loaded with hidden messages that are cleverly re-appropriated and reconfigured to create new and surprising meaning. These new configurations are lighthearted yet considered to suggest the infinite possibilities in which even the most timeless gestures can be seen anew. In this exhibition, Hage collects three different bodies of work where figurative, landscape and abstraction culminate in photographic, sculptural and installation gestures. Care has been taken with the placement of these works to ensure that unexpected new relationships between the work can exist and indeed thrive.
When viewing the “Rehearsal” pieces, the viewer is reminded of a bygone era of silent films and theatre. Actions that appear funny but somehow tragic are reminiscent of Charlie Chaplin’s quote “Life is a tragedy when seen in close-up, but a comedy in long-shot.” Chaplin, a master of gesture himself was always aware of the power of the body’s language. That like in any language, nuances are the key that can hold true meaning. The figures we see in the various configurations suggest a formal relationship. It is unclear whether they are performing to entertain or for duty as while the poses are impressive, ridiculous and impossible in equal measure, the expressions of the figures are sometimes pained, non-plussed but most often vacant allowing the viewer to constantly re-assess what exactly these figures are rehearsing.
The “Scene from Above” are a series of small scale models made out of folded photographic prints mounted on to white board. This series is based on aerial photography which was either originally shot by Hage herself or referenced by founds images of other photographers on Google images and by satellite from outer space on Google Earth. The subject matter is varied and include terraced post war housing in the United Kingdom, areas of Amazonian rainforest and aerials shots of swimming pools in Los Angeles. Yet the models themselves appear much closer and present by virtue of being reduced to simple shapes and colours. These reinterpretations of the original images allow the viewer to imagine what these original images could have been. The gesture of democratisation of photographic imagery into a sculptural format creates a humorous yet uncomfortable situation whereby not only the subject matter is reassessed but also ideas of ownership, copyright and the photographic image itself are challenged. This friction is epitomised by “Horizon” which is a large format photograph of the landscape around a nuclear power station in Dungeness in the UK. Like many pieces in this show, the work appears light and playful in appearance, the underlying friction permeates through the works when viewed critically.
While the photographic imagery from the “Scene from Above” series are abstracted to pure forms of colour and shape, the pieces in the series entitled “The place here” are hyper real, highly detailed renditions of images that Hage has taken and then abstracted through sculpture and installation. The scenes which once existed as a photograph now invite the viewer via a physical gesture of form to enter the image reinforcing the immediacy that Hage has created throughout this show. This is particularly apparent in the curves of the paper that replicate the sensation of water in the swimming pool of the Golden Lane Estate, London, while the connective nature of the Niteroi bridge is highlighted through the use of seemingly unrelated yet intrinsically connected materials. It is this combination of the familiar and unexpected use of gesture that allows the viewer to constantly find new ways of engaging and negotiating new connections between the different pieces within the show. While many of the pieces within the show are studies and interpretations of gesture, it is Hage’s own gestures of playfulness and consideration of selection and hanging which drives the concept of the show.
Text by Keh Ng / The modern language experiment |
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Thomas Rehbein Galerie
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