DITTRICH & SCHLECHTRIEM are pleased to announce a special two-part project premiering at ART DÜSSELDORF 2017. The booth presentation includes a cross-selection of artists from Olafur Eliasson's INSTITUTE OF SPATAL EXPERIMENTS, Berlin, and features gallery artists in addition to new artists from outside the program.
The project, titled BEOBACHTUNG // OBSERVATION, will continue with a second instalment at the gallery, with an expanded list of participating artists, open 15 DECEMBER, 2017 through 10 FEBRUARY 2018.
The dream of grasping phenomena in their own language has long animated scientific endeavours.
At the inaugural Art Düsseldorf, DITTRICH & SCHLECHTRIEM present timely reflections on the notion of BEOBACHTUNG // OBSERVATION from an influential group of young artists who participated in the Institut für Raumexperimente led by Olafur Eliasson from 2009 to 2014.
A spatial experiment itself, the open-format exhibition showcases work by Malte Bartsch, Julius von Bismarck, Julian Charrière, Andreas Greiner, Felix Kiessling, Macarena Ruiz-Tagle, Matthias Sohr, Dan Stockholm, and Jonas Wendelin. Observation and experiment are typically treated as diametrical poles of experience. In contrast to the passive innocence and receptivity of observation, experiment carries the connotation of action, intervention and manipulation. And yet experiments are frequently contrived for the precise purpose of rendering phenomena observable that would otherwise fall outside of the range of our sensory perception or technological detection. Particles are scattered, model organisms are bred, dyes are released in bloodstreams and waterways in order to reveal latent images and trigger our capacity to notice possible configurations of the world.
Consistent with Eliasson’s demonstrative insistence that experience is in each case yours and yours alone, alumni of the institute exhibit an exquisite sensitivity to the way that experiments at once rely on and cultivate distinctive observational dispositions. Stockholm’s performative process of palpating the architectural surface of memory preserves a deeply intuitive sense of touch, while Greiner’s bottomless empathy serves to infuse non-human beings with outsized stature and significance. In Charrière’s and Ruiz-Tagle’s work, the calibration and choreography of bodies, devices, and environments is amplified, stressing the affective agencies active in observation. Such an attentiveness to time frames, devices, and social configurations discloses strange affordances to Kiessling’s, Sohr’s, Wendelin’s, and Bartsch’s eyes, while von Bismarck consistently embraces within his own body the violence of provoking the world with his penetrating gaze. At once a retrospective and a promise, BEOBACHTUNG // OBSERVATION presents another afterimage of the Institute für Raumexperimente.
The above text is contributed by Dehlia Hannah. A full exhibition catalog for BEOBACHTUNG // OBSERVATION with an additional essay from Hannah will be available at the gallery in December 2017.