English: With a doctorate in gene biology, the graduate of the Kunsthochschule für Medien in Cologne, Dr. Klaus Fritze will erect a raised hide at Galerie Brigitte Schenk. This construction, akin to his other interior environments, will take up the whole space and once again ponder criteria and structures of order and selection. The elevated platform also provides Fritze with a different, new perspective, which facilitates the development of an alternative attitude and of a honed awareness. For Fritze, this quite naturally signifies a new picture of systems and structures of order, in senses as much political as scientific and scholarly.
”The creating and ordering of systems, the presentation of relations and derivations of regularities – these are genuinely scientific methods. By combining biological scientific systematics with artistic shaping procedures, Klaus Fritze launches a process of shifting whose goal and orientation cannot be clearly bounded and defined in advance. First, the point can be new parameters for art, setting ostensibly objective standards of value on the model of a humanistic universalism. Another possible perspective would be, to shift the context, in order to pry away science’s claim to objectivity and provocatively confront it with the claim to absolute artistic individuality. New knowledge impulses can be found in the open experimental context of the artistic laboratory, also for the set scientific framework. Ultimately the aim is to bring the concept of projects that are isolated from societal debate back into the public sphere, to depict them in compact form, and thereby to stimulate discussion and critical reflection. Without permitting himself to be unambiguously positioned, Klaus Fritze aims quite resolutely at conducting an experiment that fundamentally moves away from the postulate of aesthetic innovation, in order to trigger processes in society and to demand partisanship. From the scientific standpoint, this is a “nonsense experiment”, but one that leads to many much more direct and unmediated interventions, to opposition or support, and to a primarily emotional participation on the part of the public.
Paralleling the conducting of such experiments in public space, with an almost obsessive thoroughness, Klaus Fritze maintains an archive of newspaper clippings. He himself determines the criteria for selecting articles. It is not a question of specific content he is researching; rather, in a downright absurd-seeming pedantry, he investigates – for example – the size of the columns in certain reports and photographic motifs. He meticulously pursues the disconcertingly senseless question of which events and persons are publicized with a one-column report. Further, with a scientific methodology, he categorizes the clippings in groups and gives them corresponding names: “Female Handers” and “Male Handers”, “Left-Handers” and “Ambidextrous”. Here he clearly regards himself, once again, as a biologist who would like to create the simplest-possible, reduced systems in order to determine the framework of an experiment. Here, Klaus Fritze brings sociological analysis and gene-technological experiments into critical interaction. Accordingly, in his newspaper research he takes “one-column” reports as a simplest-possible system, using this as the basis for examining, re-categorizing, and then archiving complex media, like newspapers. In a next step, then, these archives are presented in expansive room installations as “exposition measures”. The collections of clippings appear as “organized poetry”, in which the experimentally decided ordering categories are transposed into spatial structures. The artist arranges and connects found and collected objects, thereby playing with the delicate boundary between order and chaos.”
(Excerpt from “Genetically-Modified Grass Makes Frequent Lawn Mowing Unnecessary” The Sense and Nonsense of Systems of Order, Dr. Christoph Kivelitz, Bochum, 2009)
Tuesday – Friday: 11 am – 2 pm, 3 pm – 6 pm
Saturday: 11 am – 3 pm
Exhibition runs until June 20, 2017