image text special shop

Philipp Simon at 15 Orient, New York

As two entangled objects moved slowly apart from each other it became a painful picture: the distortion became incrementally stronger and caused a heavy tension. As the final connecting threads ripped off, a vacuum grew outwards from the center. Such an attractive void was swiftly replaced with a new object, one that would always positions itself next to emerging structural gaps. This time it got lucky. As it switched into an equal entity, the ​third object​’s awkward position as a vacuum placeholder was soon overcome. 

At a greater distance, it could be seen that the whole scenario​ ​was​ placed on an aerofoil moving through the stratosphere. This was distracting as there was no way to return to the narrow picture - The new vantage was ineliminable. 

The air con was blowing. With every dry breath inhaled the necessary increment of oxygen was consumed and transported to the capillaries and once there, mixed with deoxygenated blood. It ran through the aorta into the vein branches to divide ATP to ADP and phosphate, thereby releasing energy that enabled the muscles to contract. ​Such perfection; everything was working. The blood ran back and I exhaled. And I inhaled again. 

Circular and expanding structures pierced by the timeline. To understand properly, one needs to make a sideways move away from time. 

Now I remember clearly, a wave dragged me deep underwater and I found myself looking upwards to the ebullient surface of the sea. Here, there was nearly no movement. It was silent. The temperature was mild and the pressure even. I measured the time passing by the frequency of the waves. From this third person perspective, the continuum no longer applied to me - at least until my own frequency of respiration called me back into the mainstream. 

Nonetheless, these exclusive positions always existed as a kind of white noise around the central flow. They were locally unstable yet globally stable, hard to access and maintain, and yet they existed and provided a sort of compensation for the relentless proceeding. 

The most striking structures were constantly oscillating between a participatory inside and an observational outside, like a prisoner who turned into a warden and vice versa. Both had their own independent goals, the prisoner wanted to be free, the warden wanted to keep the prisoner locked up, yet both were most successful when appropriating the other’s intentions. Incidentally, the prisoner was also well advised to place himself next to structural gaps, as a ​third object. 

7.12.19 — 26.1.20

15 Orient

'Sour Well', Group Show at Nir Altman, Munich

'Force Majeure' by Aaron McLaughlin at Loods-6, Amsterdam

'Crowd Control', Group Project by Arcadia Missa x High Art, Arles

'Rain Calling' by Lito Kattou at Tranen, Gentofte

'And Darkness the Right Hand of Light', Group Show at MELK

'Don’t Say I Didn’t Say So', Group Project at Kunstverein Bielefeld, Bielefeld

'Memorial Universe!' by Ella Rose Flood at Jargon Projects, Chicago

'Полынь' by Zukhra Salakhova at Plague Space, Krasnodar

'Hamra' by Monia Ben Hamouda at Ariel – Feminisms in the Aesthetics, Copenhagen

'Nature Angst' by Valerie Keane at High Art, Paris

'Die Blume Unterirdisch Denken' by Hans-Henning Korb at Fragile, Berlin

'BELIEVING IN SUCCESS' by Bastien Cosson at Palette Terre, Saint-Martin-de-Seigna

'Sole con le code' by Valerio Nicolai at Clima, Milan

'SHOOTING STAR' by Julian-Jakob Kneer at Blue Velvet Projects, Zurich

'Pretty Pictures' by Olga Paramonova at Spas Setun, Moscow

'Süchtig nach Modeschmuck' by Nico Ihlein at Schiefe Zähne, Berlin

'Swallow' by Sami Schlichting at Lucas Hirsch, Dusseldorf

'FERA', Off-Site Group Project by Sans Souci at Dyrehavsbakken, Klampenborg

Next Page