F I N E
28.4. – 8.5.2016, Vesselroom Project, Berlin
conceived by Sarah Johanna Theurer
f i n e brings together works that concentrate on ephemeral materials and traveling substances. The show features installations by sound artist Adam Asnan and visual artist Markues. A condition between good and bad, f i n e departs from Rosi Braidotti’s notion of the nomadic subject, which calls for a qualitative shift of perspective in our collective sense of identity.
In search for critical tools suited to the complexity and contradictions of today’s rejection of otherness, f i n e sets out to become nomad within the fluctuating sounds of Bella Trays series (2016) and the softly fragrant, idiosyncratic droopy textures of Intent on Every Loveliness (2016). Both artists exhibit an obscured use of abstraction conveyed through the deconstruction of the ceiling, turning the room into a field of fluctuating objects, borders, sounds and tensions. In their recent site-specific installation works, an enlarged sense of interconnection between self and others is displayed. Bella Trays creates steady, shallow movement by highlighting the physical act of sound motion. Still withstanding the idea of linear progress, sound seemingly travels through space and bodies, like the surf flooding Markues’ floor sculptures.
Bella Trays by Adam Asnan is the first installation of a series of works with resonating Thali-trays. The steel trays are put in motion by a combination of predetermined sets of frequencies and their own feedback. The trays produce a set of hypnotic, flourishing timbres that examine the delicate balance between electronic and acoustics in nature. Adam Asnan’s practice links the auditory images developed in a subject’s mind with the virtues of spatialization. Appropriating the mineral fiber boards from the space’s now naked ceiling, the imagery of the tray-sculpture also relates to its destabilized and fragmented surroundings.
Intent on Every Loveliness by Markues allows the visitor to habituate liminal and permeable spaces in between already established spectator perspectives. Cricking the body ones eye will catch phrases from Jean Genet’s 1958 prose poem Le Funambule – proposing the figure dancing on a twisted rope as an ancestor of the nomadic subject. Locating the subject within the flow of harmonious relations, Markues’ work turns inward, works through differences and becomes internally differentiated, visually aligning with Braidotti’s philosophical concept of nomadic subjectivity.
“These are strange times, and strange things are happening… Unless one likes complexity one cannot feel at home in the twenty-first century“ – Braidotti
So, how do we embrace complexity? How do we feel at home within a precarious context? f i n e brings together sound and scent to invoke memories, alter them through present reflection, and project them into the closer future.