From the Catalogue:
[T]he works revolve around techno and the history of the culture of the outside, festival production, the esthetics of escapism and desire in late capitalism since the Beatniks. Monterey and Land Art. Fehr and Rühr who are not sculptors but filmmakers had objects reconstructed, which were the creation of others. They present the beauty and happiness of sculptures at festivals, sculptures that are made by artists, construction managers, professionals and fantasy fans, anonymously or in groups, of short-lived existence and bound for destruction either by recycling or burning (Burning Man, Nevada). It is Festival Art, previously called Folk Art.
The titles originate from a list of exceptional human experiences, the branded phrases from the book “Idols of the Tribe. Group Identity and Political Change” by Harold R. Isaacs, the geometric shapes from mathematical systems whose idealist aesthetics probably also mean social structures and individual psychological processes.
Times, spaces and places are caught in a slur. [...] In the objects formal languages shift. It’s about longing motives, promises of happiness. The position of this work process is both inside and outside. It refers to what motivates. Thus, of any possible origin, which is both fractal and mono, reality and construction.
Source: Excerpt from a text by Susanne Titz for the exhibition “Henning Fehr Philipp Rühr – We made up our own origin” at Galerie Meyer Kainer on the occasion of curated by_vienna 2016
Image rights: Donated by Bettina Böhm, Berlin and Galerie Max Mayer, Düsseldorf