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The Emerging Artist Series
Opening: 6. 5. 2010, 6–10pm
Der Künstler und Kurator Will Benedict verbindet die Arbeiten einer jüngeren Künstlergeneration am Beispiel dreier Künstlerinnen Verena Dengler (geb. 1981), Sara Deraedt (geb. 1984) und Nadja Athanassowa (geb. 1982), mit Kunstwerken von Ed Ruscha, Frank Stella oder Ronald Bladen.
PRESS RELEASE
For the past several years Sara Deraedt has been working towards building a living archive in which photography is the constant and evident basis. This living or working archive functions both as a typical archive for the absorption of input and reference and as the actual material work itself which continously questions what is found or seen and how it is transformed by it's (re)presentation. This eventual presentation, or the communicable form of the work can have various outcomes but all are relient on a sequence of images which provide 'information'. Her Folders which are loose folded pages forming an open booklet have been as she says "a convenient format to focus and understand material" that allows her "to proceed towards the demands of the work". Deraedt initially concentrated her efforts on her immediate surroundings by documenting the empty lobbies of financial institutions in Brussels where she lives. Parallel to this Deraedt photographed and collected images of cars and car interiors which she exhibited as slides and on rare occasions as framed photographs. In both examples Deraedt concentrated on spaces that are simultaneously public and private and therefore available to her but at different degrees of built–in distance. These space's mediated dual status as both accessible and off limits provide a condition in which their appearance could be endlessly construed as perhaps sexual, frightening, emotional or strikingly affectless. This notion of what can be seen and what is hidden from us or what is public and what is private is replicated in the idea of the archive itself and it is here that the highly subjective nature of Deraedt's archive like all archiving is exceptionally evident in it's basic construction and potential reception. Her works expose an artist that struggles over what is at stake between issues of quality, quantity, detail and generality, and in which a simple photo of a car interior is imbued with the tension of it's position as a unique, endless, emotive and affectless object. |