300511: ZKM – Zentrum für Kunst und Medientechnologie ATLAS. How to carry the world on one’s back?

ZKM – Zentrum für Kunst und Medientechnologie ATLAS. How to carry the world on one’s back? 07.05.11 to 07.08.11 A certain Chinese encyclopaedia In the past, artists wanted to change the world. But what's really important is how one structures the world. One could forfeit this reversal of things when going through the - as always exuberantly vested - diverse, thought-provoking new exhibition at the Karlsruhe ZKM. Georges Didi-Huberman has unfurled it. As the French master thinkers learnt their incomprehensibility from the Germans - Hegel, Heidegger - so has Didi-Huberman learnt his orderliness from a German. Aby Warburg's Mnemosyne Atlas delivers, not exactly originally, a model for every collection of motives, gestures, details and subjects which have shown themselves in pictures across all epochs and which then became collages in the 20's. Thus, a memorial cycle was born and the curator now asks whether this kind of calendar sheet-like practice is a good strategy overall. A course is on display, which has something of the orthodox-orientated Conceptual Art. The combinations from Bernd and Hilla Becher, from Gordon Matta-Clark or Marcel Broodthaers, allow observance of the systematic to emerge. Predecessors can be recognized, such as August Sanders' objectivity, Brassai's room magic or Max Ernst's capricious universality. Much serialization is in play, Sol Lewitt, accordingly, is a must. Lewitt, that's the one whom Rosalind Krauss diagnosed in one of the most striking and catchy texts of art critique as having a special pathology, a craze for order, which turns into delirium. To always have to show everything and not to understand anything is not stringent but weird. Perhaps the exhibition should also have incorporated Mrs. Krauss' 40-year old reflections more distinctly. After all - the show did take the opportunity to show that something like order develops if one puts the things next to one another. Two years ago, Umberto Eco produced a series of events in the Louvre, which emanated from similar premises as those now shown in the ZKM. It was entitled "The never-ending list" and it variation was part of its program. Its secret advisor was "a certain Chinese encyclopedia" discovered by Jorge Luis Borges and made popular by Michel Foucault. The "classification of the animals" is offered here - so that orderliness doesn't imprint itself too deeply on the mind: (a) belonging to the emperor, (b) embalmed, (c) tamed, (d) milk pigs, (e) sirens, (f) mythical creatures, (g) stray dogs, (h) included in this classification, (i) those who behave as if they were mad, (j) uncountable, (k) painted with the finest camelhair brush, (l) and so on, (m) those who have broken the china, (n) those who look like flies from a distance." By Rainer Metzger ZKM – Zentrum für Kunst- und Medientechnologie 76135 Karlsruhe, Lorenzstraße 19 Tel: +49-721-8100-0 E-mail: info@zkm.de http://www.zkm.de Opening hours: Wed-Fri, 10-18 hours | Sat - Sun, 11-18 hours

ZKM - Zentrum für Kunst und Medientechnologie
76135 Karlsruhe, Lorenzstraße 19
Tel: +49-721-8100-0
Email: info@zkm.de
Öffnungszeiten: Mi - Fr, 10-18 Uhr | Sa - So, 11-18 Uhr

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