Works

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VERENA FRENSCH | TRANSMISSION

Using this exhi­bi­tion title, the Munich artist pro­gram­ma­ti­cally descri­bes the dis­cus­sion sur­roun­ding our under­stan­ding of models of sen­der and recei­ver and the dys­func­tio­na­lity of our sys­tems of refe­rence in gene­ral. It’s that civilization-critical access which com­bi­nes the four photo series „The Mes­sage“ (2014/17), „Signi­fi­cance“ (2016), „I am here, await­ing“ (2006/16) and „Reta­ble 2012“ (2012), pre­sen­ted wit­hin an exhi­bi­tion for the first time.

10.03.2017 – 29.04.2017

On 10 March begin­ning at 7 pm all are invi­ted to the opening recep­tion at the gal­lery.
The artist will be pre­sent.
The evening’s musi­cal accom­p­ani­ment will be pro­vi­ded by Dan Fami­liar (Coun­try Blues Noir).

The fol­lo­wing works are pre­sen­ted in the show:

VERENA FRENSCH | TRANSMISSION

Trans­mis­sion – the sense of the word trans­mis­sion can mean com­mu­ni­ca­tion, the dis­se­mi­na­tion of an idea or emo­tion, or the pas­sing of waves or other impul­ses through a medium. The title pro­gram­ma­ti­cally descri­bes the dis­cus­sion sur­roun­ding our under­stan­ding of models of sen­der and recei­ver and the dys­func­tio­na­lity of our sys­tems of refe­rence in gene­ral.
The series “The Mes­sage” shows machi­nes at work, cle­arly sen­ding out impul­ses wit­hout any appa­rent mea­ning. A child obser­ves the pro­cess and seems to receive the mes­sage. An unknown mass in his ear rai­ses ques­ti­ons as to the aut­hor and the nature of the mes­sage. The child — now older – shows a hint of joy at the pro­s­pect of the mes­sage being car­ried out, and the viewer must ask them­sel­ves whe­ther or not this is a good thing.
“Signi­fi­cance” unders­cores the import­ance of the pro­ba­bi­lity of error. In Japan, the koi-carp is con­side­red to be the epi­tome of domesti­ca­ted beauty. Its deco­ra­tive color-pattern bree­ding makes it a living pic­ture. Jux­t­a­po­sed, as if in a dream, with child­ren kept both in front of and behind glass, the koi pro­vi­des a crys­tal clear remin­der of the ambi­va­lence of our own exis­tence. The male child­ren seem to be caught and held back from deve­lo­ping their own strength. The koi howe­ver, which stand for strength and deter­mi­na­tion, are swim­ming in water, an ele­ment which stands for the femi­nine and the intui­tive. The fasci­na­tin­gly beau­ti­ful sur­faces of the pic­to­rial com­po­si­ti­ons dis­tract from the clear sce­nes of clas­hes over food, whe­reby the eyes of the fish, sear­ching yet sta­ring into the empti­ness, pic­tures­quely blend into a sun­set atmo­s­phere.
“I am here, await­ing” sket­ches a post-apocalyptic world emp­tied of human life, in which the latent pre­sence of ano­ther life form is per­cep­ti­ble, but not under­stan­da­ble.
At the end of this dys­func­tio­nal circle-dance of com­mu­ni­ca­tion, “Reta­ble 2012″ reminds us of our own lack of a sys­tem of mea­ning and the lack of sys­tems of recourse. Our own doc­trine of sal­va­tion and thus hope has become alie­na­ted and unknown to us: Who is the sen­der here? What is the mes­sage and who will hear it?