Tomber_2018_Very Projectspace_01.jpg

TOMBER (2018)


tomber, 2018 (curated by Sarah Ancelle Schönfeld)
Very, Berlin, de
photo: Sarah Ancelle Schönfeld

featuring works:
Outside insight paravent, 2016

An exhibition with Alvaro Urbano, Irena Haiduk, Kathrin Sonntag, Philip Wiegard, Sophie Erlund, Tania Perez Cordova, invited by Sarah Ancelle Schönfeld.

The french word tomber means falling, tombe means tomb.

The moment between falling and have fallen is inherent in every step we take, not-knowing if there will be ground which will catch and support us and - in the case of a step, enable a next one, or - in that of a grave, offer a final support.

The works in the exhibition Tomber challenge us in their weightless intangibility, to play a game which is not about fake news or real facts, but rather orientation and perspective. Through magical gravity, the foot does not always land on the ground but instead, in the air.

In times of I-Pad and I-Phone and other eye/ego-machines, it seems relevant to question what exactly the I and its technological extension sees and what that does to the eye/I in its endless reproducibility, weightlessness and flatness. It appears as if we may need a new form of visual indecipherability and resistiveness in order to escape the permanent exploiting loop of our current system.

In 1955 Einstein’s brain was stolen by the pathologist who had assessed the scientist’s death. Unauthorized, he opened the skull removing brain and eyes in order to examine what made this brain, which brought us time-space relativity, so exceptional. He cut it into 240 little cubes to be widely distributed into the scientific community. Needless to say, nothing fundamentally surprising came out of this research. One suspects that the little fragments - the meat-pixels would be the entirely wrong format for such a quest. Nevertheless Einstein’s eyes are still lying in a safe somewhere in NYC, deadly staring into the black hole they had once imagined.