The difficulties of grasping things that exist outside “our” time and through “our” language have often lead artists to an in-depth examination of the materiality of things. “If our space, our world, hadn’t acquired time, it had certainly acquired depth. The titleCOMFORT 732/00/ refers to a note she found on the street one day, which she was intrigued by but couldn’t decipher it seemed to contain a paradox between a state of mind and a particular time, although the time was out of date, an imagined date almost, caught in between past, present and future. As opposed to separating the natural from the artificial, the photographs depict the often surreal and magical encounters between mechanical and organic rhythms in the city.
They point at the microscopically small, the day to day transformations and to a between state-ness.
#Karl monies series#
Molin’s works act as a series of chance encounters the motifs in her images are never staged, but always found and shot as they are. Whereas the photographs visually refer to moments of intersection, the text describes bodily encounters with synthetic materials, screens and data. Her work intertwines photography and short poetic texts, together creating a prism of approaches to the subject. InCOMFORT 732/00/ Elisabeth Molin addresses entropy – the ‘perfect disorder’ or ‘randomness of an enclosed system’ – resulting from a curiosity of how architecture and urban artifacts affect the human body. When I turned ten years old, the world suddenly turned ten million billion years old.” We were one big space (which was, of course, a very small space).Īnd right at that point in time (where there were no points in time), our school began teaching us about all the world’s points in time. Our relationship was beyond language-and thus also beyond time. And there was never a harsh word between us, for the simple reason that there were no words at all between us we never uttered a word to each other, the world and I. We just tumbled around from sunrise to sunset, earth and body as alike as two pennies. At least, there was no difference between us, no opposition, no distance.
”When I was nine years old, the world, too, was nine years old. Le Guin’s Carrier bag theory explaining how containers have always played an essential, and perhaps, underestimated role throughout the whole history of mankind the container understood as the body, the dwelling space, the library, the museum, the womb, the matrix.Ĭomforts consists of a series of meticulously hand-embraided textiles, that besides from their geometrical patterns and particular bleached and dyed color schemes, immediately triggers the haptic and perhaps even synesthetic sense in any visitor, who is able to imagine how comfortable a blanket wrapped around you feels like and how any kind of fabric functions as something protecting as a separating layer and connecting point between our bodies and the world. The former functioning literally as striking, sculptural containers for anything, any thought, any idea, any purpose or simply pure energy.
#Karl monies archive#
Bringing his personal archive consisting in 10 years of gathering bits and pieces from here and there, he has within the past month been assembling these almost “forgotten” images in new/old, intuitive/orchestrated constellations of Principles.ĭuring his residency at CCA Andratx, Monies has besides continued developing two ongoing series of works: his ceramic and polystyreneContainers and his tapestr圜omforts. 6: “Cause and Effect”, stating that the chance is merely a term in describing something that is unknown to our planes of existence. Karl Monies believes less in chance by working accordingly to the7 Hermetic Principles, one of them being correspondence, “As Above, So Below”, another one being the pendulum movement of Rhythm, and perhaps most interestingly is in this context the principle no. The kingdom above or the darkness below it is for him to choose.” His destiny is nowhere spelled out, nor is his duty. Monod concludes, inspired from the Existentialists, that “man knows at last he is alone in the unfeeling immensity of the universe, out of which he has emerged only by chance. Inspired by the title of the book by the French Nobel-Prize winning biochemist Jacques Monod from 1970, CCA intends to question the relationship between chance encounters, coincidences and opportunities and the necessity to make a choice. Kristian Kragelund (DK), Elisabeth Molin (DK), Karl Monies (DK) andĬCA Andratx is excited to present the group exhibition Le Hasard et la Nécessité which unfolds four different artistic expressions delving into the space between Chance and Necessity.
0 kommentar(er)
