For »Framework 6: parallelisms« insitu presents 2 exhibitions taking place consecutively and both featuring works by three artistic positions:
Eli Cortiñas / Ingo Mittelstaedt / Sam Smith
With the desire to draw out different threads between the multi-layered practices of these artists, insitu invited an additional curator to see how shifts of curatorial perspectives can produce different exhibitions and ideas while working with the same trio of artists. After the first part of the exhibition »To Be Continued…« curated by An Paenhuysen, it is now insitu’s turn to present their perspectives on this trio.
»To Be Continued…«
curated by An Paenhuysen
»To Be Continued…«, the first part of »Framework 6: parallelisms«, is an experiment in literary curating. It is inspired by the conversation that Paenhuysen had with the insitu team via the blog format, where each curator consecutively posted an image that was a response to the preceding one. The chain reaction/cadavre exquis method of this blog turned into a body of visual research on the work of Eli Cortiñas, Ingo Mittelstaedt and Sam Smith. Paenhuysen wrote a text based on this correspondence, which can be read as a loop. She then asked the artists to fill one blank page each by selecting a work that confirms, comments, opposes, ignores, hyper-affirms, or illustrates the text.
The exhibition »To Be Continued…« refers also to insitu’s concept of ›parallelisms‹, opening up the possibility for a continuation in the second part. A loop is a continuously repeated segment, whereas a parallelism employs a doubling or repetition while slightly changing the construction and therefore the meaning of the original paralleled concept. Within this Framework, An Paenhuysen provides a hint of a challenge to the insitu team – »What happens next?«
curated by the insitu team
With Part 2 of »Framework 6: parallelisms« the insitu team explores a common thread between the artists that can be compared with a shift of focus: showing the back rather than the front, illuminating absence, or turning a negative space into a positive. Within their practices, the artists take a high interest in the apparatus and processes of their respective mediums of film and photography. They look at what is often left out of the frame and the potential for the lens to distort and manipulate its captured subjects. Thinking within the mindset of a camera, with a twist of their artistic lens they shift focus away from what would typically be the ›subject‹.
In turn, our perspective is adjusted to either see the subject anew or reveal something that has been ›hiding in plain sight‹. Phenomena of perception shows how our brain is constantly ordering, selecting, neglecting and adding information to what we see. For example, when one focuses on a particular point, other objects in our vision fade away. This physiological blindspot therefore holds the potential to willfully hide and reveal areas within our vision. Conversely, following the principles of Gestalt theory (which is the ability of our brain to form wholes) we make up for ourselves what is usually unseen. The artists take apart what we usually see as a whole, dissecting it to uncover the parts that are often subsumed into the grand picture.
Eli Cortiñas (born 1976 Las Palmas de Gran Canaria, Spain) – Eli Cortiñas’ enigmatic video loops, collages and sculptures are typically composed from iconic found footage of 50s and 60s films as well as scenes from art house classics such as Truffaut or Buñuel. By deconstructing and disrupting narration and representation in the original cinematic source, the composite result speaks a new visual language that is penetrated by dream logic and absurdity.
Ingo Mittelstaedt (born 1978 Berlin, Germany) – In an exciting game of art historical references and photographic alienation of aesthetic resolution and material presence, Ingo Mittelstaedt explores in his analogue photographs the potential for abstraction within the medium. Objects of everyday life, nature and art are typically the starting point of his artistic work, which are then re-formed and reframed through staged displacement and perceptual distortion.
Sam Smith (born 1980 Sydney, Australia) – Sam Smith works across sculptural construction and moving image, in an exploration of filmic language and its relationship to object. Intersecting the formal and conceptual frameworks that have previously separated these artistic disciplines he invests film and video with ideas relating to three-dimensional space while expanding object-based work into temporal territory, asking us to rethink sculpture as montage and cinematic editing as object construction.