16.10 – 31.10CURATED BY
PIERRE GRANOUXLAGE EGAL RAUM FÜR AKTUELLE KUNST
Danziger Str. 145, 10407 Berlin (View on Map)
- Charles Burkhardt (musicologist and theorist) suggests, that codas are common and necessary in the following context: In the climax of the main body of a piece of music, in a "particularly effortful passage", an expanded phrase is often created by, "working an idea through to its structural conclusions". After all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all in", and "create a sense of balance."
CODA is an installation for the two front and back spaces of LAGE EGAL. As installation, CODA references the ambiguity of intentionality, whilst acknowledging that intentionality has become objectified into a process-based leitmotif, (to the point of becoming crafted and self-reflexive) with its own ‘mytho-poetic’ art historical currency.
The coda symbol is (of course) widely used as a navigation marker in musical notation, where it resembles a set of crosshairs. However, in the main (back) gallery space of LAGE EGAL the coda symbol is absent. It is replaced by text, which speaks its name in a monumental format. The term ‘intention’ is referenced via modestly scaled objects and texts, which point to the elemental, the spatial and the temporal, in the context of propositions, statements, observations, or scenarios of choice.
In a consideration of these presentations, or by entering into the ‘space between the monumental and the modest, the viewer may construct an endless loop or an effortful phrasing of their own, which then opens up the possibility for a solipsistic coda of one’s own making, to create a sense of subjective balance and/or ending.
At times CODA presents the appearance of a seductive materiality, one tied to paradox and the propositional. This is the case, especially in the front room, which may act both as an index – and an unreliable preface – to the back gallery space of LAGE EGAL, Berlin.