- Best known for exhibitions of contemporary art in Paris, the curatorial platform ArtBridge Contemporary is pleased to present its first project in Germany. Organized in cooperation with independent art space LAGE EGAL, InTension unites three artists whose works in different ways focus around the manifestation of a tension.
Anita Ackermann expands cotton threads between the opposing extremes of an aluminium plate to form straight, yet fragile, lines. Both materials are joined in a fight - or a union, an embrace -,ever dependant on each other to preserve a delicate balance; stretching and contracting, captured in palpable tension that is further evoked by the materials’ inherent contradictions: Warm, colourful, cotton confronts cold, grey, metal; soft organic tissue meets solid metal. Yet both belong to the most extensively used materials, typically employed to cover and protect. Their characteristics appear inverted here. Frayed by pressure, afraid of bursting apart, the textile fibre turns rigid where metal becomes soft and pliable. The potential energy accumulated by the artist strives for liberation and a resulting auto-destruction of the work.
Following his participation in contemporary drawing show Walk the Line at Kunstmuseum Wolfsburg earlier this year, Keita Mori now shows for the first time in Berlin. On the occasion of InTension, the Japanese artist will create one of his acclaimed site specific installations, a wall drawing and a performance work with cotton and a glue gun. Put under stress, the textile fibre develops a life of its own, ultimately independent from the artist’s intervention. Also, Keita Mori will for the first time ever present a series of drawings in classical technique. (a critical essay on Keita Mori’s work is available here.)
Darrell Weisner summons another, more metaphorical, form of tension. His sculptures are reminiscent of a predatory mouth, or a flesh eating plant perhaps, with jaws menacingly opened wide. A trap would be another association, and indeed we are trapped in traditional notions of material. The spectator imagines a movement, perceives curbed lines, but if we fix our regard on the details we realize, there are but the strict, unbent, and unbroken lines of fixed wooden sticks, and that it’s only the multitude - and the artist’s skill in combining them - that creates the illusion.