Betrachtungen des Waldes

Online discussion with Elke Dreier and Arjen Kleinherenbrink

28.05.2021

As part of the series Thinking Nature, GiG Munich hosted the online discussion between Elke Dreier (currently showing her work Betrachtungen des Waldes at GiG) and Dr. Arjen Kleinherenbrink (assistant professor in metaphysics and philosophical anthropology at the Faculty of Philosophy, Theology and Religious Studies at the Radboud University Nijmegen, Netherlands) . The zoom discussion took place on the 28th of May. 

 The image in Elke Dreier’s work is the forest clearing – Arjen Kleinherenbrink will be introducing Deleuze and Guattari’s idea of the plane of nature. In this way, we will move from clearing to plane, to see how things might reveal themselves to us and how things came about to be what they are. 

To watch the discussion on Vimeo, please find the link here:  https://vimeo.com/558918382.

The project is funded by the City of Munich Department of Art and Culture.

Betrachtungen des Waldes

Elke Dreier

11.05 – 11.06.2021

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Camera: Daniel Asadi FasziXylothek, TUM Holzforschung München

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (still image)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (installation view)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (installation view)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (installation view)

Elke Dreier, Betrachtungen des Waldes, 2021, video installation (installation view)

The clearing in the forest is such a compelling image. It always seems to happen quite suddenly. The trees fall away to reveal an empty space. The sun shines there. Birds sing.  A butterfly flutters by.  Things become visible in the clearing as the eye adjusts to the bright light. We begin to perceive things that were previously hidden — things that otherwise might have escaped our notice. When we enter the clearing things show themselves to us. But what are these things that we see? And who are the ‘we’ to who see them?

For me, the clearing always will belong to Heidegger. When in ‘The Origin of the Work of Art’ he starts to describe the relation between truth and unconcealment, it is the clearing to which he turns. He writes here so memorably,

In the midst of being as a whole an open place occurs. There is a clearing. Thought of in reference to beings, this being is more in being than are beings. Thos open center is therefore not surrounded by beings; rather, the clearing center itself encircles all that is, as does the nothing, which we scarcely know. (‘Origin of the Work of Art,’ in Heidegger, Basic Writings, 114)

Heidegger makes good use of the way the clearing makes the forest visible to us, the moment when we finally see the space, light, and air, that despite always being present, within the forest remaining unnoticed, overlooked. For Heidegger, the clearing then becomes the metaphor for how beings stand in Being. 

But there are so many other approaches to the clearing, and it is this that the work of Elke Dreier shows so well: the clearing in its compelling-ness. We might look at the video footage of the local forest and see the light, the trees and the leaves. Those who are more observant might catch a glimpse of an insect or bird.  An expert bird imitator however, would know the names of all the birds he hears and be able to replicate their song exactly. Similarly, the staff at Munich’s Xylotheque could identify the wood structures of each of the trees found there. The clearing is thus open to all those who wish to enter. It invites us in.

The clearing as presented by Elke Dreier in Betrachtungen des Waldes is the first in a series of exhibitions (entitled, Thinking Nature) held at GiG Munich. These exhibitions hope to examine man’s relation to nature, or more accurately, how man’s thinking is structured through the relation he has with nature. For too long this kind of thinking had been focused on the relationship man establishes with nature. Traditionally, the condition of knowledge lies within the human subject and whatever his experience of the world might be. More recently Marxist, feminist, and postmodern thought have set to critique this relationship further.  I would argue the challenge is to think nature outside this relation, with our current climate crisis as well as the ongoing corona pandemic making this task all the more urgent. The clearing of Elke Dreier work is to provide the open space for discussion. 

Magdalena Wisniowska 2021

Betrachtungen des Waldes

Elke Dreier

11.05 – 11.06.2021

GiG Munich is happy to present its first exhibition of 2021, featuring new work by Munich-based artist, Elke Dreier, the video installation ‘Contemplation of the Forest’. This will be the first of a series of exhibitions exploring the relation between man and nature, supported by the City of Munich Department of Art and Culture.

Elke Dreier’s “Contemplation of the Forest” shows a forest clearing from different perspectives. The work uses film to stage and negotiate fundamental questions about forms of perception, visibility and physiological processes in the perceptual encounter.

Elke Dreier (* 1984) studied at the Academy of Fine Arts as a master class student of Prof. Olaf Nicolai and lives in Munich. In 2017 she received a scholarship at the Fondazione Pastificio Cerere in Rome and in 2018 was awarded the project grant for visual arts from the City of Munich. In her artist practice, Elke Dreier removes everyday communication and movements from their immediate context to re-enact them in videos and installations.


2020 Götzendämmerung, Künstlerverbund im Haus der Kunst, München

2019 Future Routines, Ausstellung, Lecture und Talk, mold, Karlsruhe in Kooperation mit dem Kunstbüro der Kunststiftung Baden-Württemberg (s)

2018 Memotion, Europäisches Künstlerhaus, Schafhof, Freising2017 SO LONG, Fondazione Pastificio Cerere, Rom

2016 Karin Wimmer – Young Art Space, München (s)

The exhibition will include an online discussion event with Dr. Arjen Kleinherenbrink, assistant professor at Radboud University, and author of ‘Against Continuity.’ 

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GiG Munich freut sich, die erste Ausstellung 2021 mit einer neuen Arbeit der Münchner Künstlerin Elke Dreier, der Videoinstallation „Betrachtungen des Waldes“, eröffnen zu können. Dies ist der erste Teil einer Reihe von Ausstellungen, unterstützt vom Kulturreferat München, die sich mit der Beziehung zwischen Mensch und Natur befassen.

Die Videoinstallation “Betrachtungen des Waldes” zeigt eine Waldlichtung aus unterschiedlichen Perspektiven. Grundlegende Fragen nach Wahrnehmungsformen, Sichtbarkeit und physiologischen Abläufen in Wahrnehmungssituationen werden filmisch inszeniert und verhandelt.

Elke Dreier (*1984) hat an der Akademie der Bildenden Künste als Meisterschülerin von Prof. Olaf Nicolai studiert und lebt in München. 2017 erhielt sie ein Stipendium an der Fondazione Pastificio Cerere in Rom und wurde 2018 mit dem Projektstipendium für Bildende Kunst der Landeshauptstadt München ausgezeichnet. In ihren künstlerischen Arbeiten löst Elke Dreier alltägliche Kommunikations- und Bewegungsprozesse aus ihrer Unmittelbarkeit und reinszeniert diese in Videos und Installationen.

2020 Götzendämmerung, Künstlerverbund im Haus der Kunst, München

2019 Future Routines, Ausstellung, Lecture und Talk, mold, Karlsruhe in Kooperation mit dem Kunstbüro der Kunststiftung Baden-Württemberg (s)

2018 Memotion, Europäisches Künstlerhaus, Schafhof, Freising2017 SO LONG, Fondazione Pastificio Cerere, Rom

2016 Karin Wimmer – Young Art Space, München (s)

Plastique Fantastique

Zero Time

30.11.2019 – 17.01.2020

 

plastique postcard front

 

Opening: Saturday 30th of November, 7-9 pm

performance: 8pm

 

Trouble… Trouble on the ground… Extinction Beckons… Many disappear… But you survive…  Tech-animals are resourceful… Some stay with the trouble on the ground and find new ways of living… Many live in Zero City, which is not a place but an artilect intelligence, and sign up to zero production, zero consumption, zero-hours contracts… Material life becomes minimal but profitable at least for some… information is Deliver00’d in zero time… Others see a future off-ground and look to the sky… higher than the clouds, higher than where blue turns to fire, higher than darkness… to the Moon, Mars and beyond… banking on artilect and intelligence to build a city on Mars… but artilects have ideas of their own and… and make for Mars on their own, for a friend’s rendezvous… a society of a kind… so begins the first day of Mars Year Zero…

Through drawing, digital prints, sculpture, film and performance, the London-based collective Plastique Fantastique address what was once Science Fiction but now material for the news, the choice of finding ways of living with the trouble on Earth or pursuing off-world futures. In Zero Time, Plastique Fantastique tell the tales of those who choose to remain and those who look to leave, and also those who have no choice but to flee to find safe haven. Zero Time incorporates work from two recent exhibitions in London, part one Zero City at IMT Gallery, and part two, Mars Year Zero at Dilston Gallery, SPG. For the opening of the show, The group will perform a sonic fiction ‘We Live by the Left Hand of Darkness,’ about the first days of Mars Year Zero.

 Recent exhibitions and performances by Plastique Fantastique include: Mars Year Zero Dilston Gallery, SPG London 2019; Mars Year Zero Performance for ‘Today is Our Tomorrow’, Publics Helsinki 2019; Zero City IMT Gallery London 2019; ‘Shonky’, Hayward Touring Show travelling to MAC Belfast, DCA Dundee, Bury Art Gallery and Museum 2017-18; ‘They Call Us Screamers’, TULCA Galway.

 

Mit Zeichnungen, Digitaldrucken, Skulpturen, Filmen und Performances spricht das Londoner Kollektiv Plastique Fantastique die aus Science Fiction bekannte Frage an, ob man auf einer unruhigen Erde bleiben oder eine Zukunft außerhalb der Welt verfolgen soll. In Zero Time erzählt Plastique Fantastique die Geschichten von denen, die bleiben und die gehen wollen, und auch von denen, die keine andere Wahl haben als zu fliehen. Zero Time enthält Arbeiten aus zwei kürzlich in London durchgeführten Ausstellungen, Teil 1: Zero City in der IMT Gallery und Teil 2: Mars Year Zero in der Dilston Gallery, SPG. Zur Eröffnung der Ausstellung wird die Gruppe eine Sonic-Fiktion über die ersten Tage des Marsjahres Null “We Live by the Left Hand of Darknesst” inszenieren.

Zu den jüngsten Ausstellungen und Performances von Plastique Fantastique gehören: Mars Year Zero Dilston Gallery, SPG London 2019; Mars Year Zero Performance für „Today is Our Tomorrow“, Publics Helsinki 2019; Zero City IMT Gallery London 2019; “Shonky”, Hayward Wanderausstellung zu MAC Belfast, DCA Dundee, der Bury Art Gallery und dem Museum 2017-18; “They Call Us Screamers”, TULCA Galway.

 

 

project_funded

 

USA participating artists: Florencia Guillen

Florencia Guillen1

Florencia Guillen  works with video, sound, text and drawing and explores notions of travel and migration. She has carried out art research projects in various locations, using objects to chart historical paths within specific geographical territories. Florencia Guillén did a masters degree at the Slade School of Art, London, and obtained her undergraduate degree in Art and Art History from Goldsmiths College in the same city.                     FG 2013