At first glance the spatial settings of this dual exhibition are obviously very selective, clearly arranged and each item seems to represent its very own kind, clearly holding up a distance to the other objects.
Whileentering the space the works on display even seem to embody a certain kind of inoffensiveness: there is a translucent curtain, a warmly shimmering circular disc in red, some sun flowers in shades of grey, one or two colourful prints in small formats and an indefinable form of a cast is hanging from the ceiling, fixed with belts in bright orange. Taking a closer view, a certain irritation slips in this accumulation of culture. The curtain is inscribed with while the fields a burning, a clear hint on a dysfunctional landscape of agriculture, even a state of emergency. It appears not by coincidence, that the curtain is the central opener of the show and an important changer of perspective. From this new point of view everything in the space can be perceived connected to a certain theme. The red disc may refer to the sun during dusk or dawn. The sun flowers are grey and turn away their heads either to wall or to the ground. Their condition evokes a strange lifeless mood, somewhere between artificiality, ignorance and grief. And by the way doesn’t the hanging cast may now represented the model of a coaled landscape, even containing holes of all burnt substance to look through?
These tracks lead to the general interpretation of a mute state of emergency beneath the landscapes of a hyper capitalistic anthropocene, that is triggered by the combination of the works on display. SILKE BRIEL and CLAUDE EIGAN together draw a multimedia- based terrain of our contemporary times. In this subverted setting the artworks resist against a comfortable consumption, like crystal shivers in a soft pillow. By using mainly synthetic materials and objects of digital distribution to refer to an organic landscape, the both artists even underline the alienation of our actual circumstances.