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exhibition
THE WHOLE WORLD BEGAN WITH A YES MARGOT KLINGENDER 09.11-10.24 Opening: 09.11, 5 p.m.-10p.m. At the heart of Margot Klingender’s practice is a sensitive approach to perception. Partially sighted since childhood, she creates dreamlike universes that offer a personal view of the visual world and its connections. The exhibition The whole World Began With a Yes, plays with scale on Diagonale’s walls and in its central space. Created from paper cut-outs initially made in small formats, her larger, fanciful steel works use a graphic vocabulary born of a persistent act of collecting. Over several decades, Klingender has amassed a significant repository of images gathered from books, archives, online forums and social media. Redrawn and then cut out by hand, the images are taken from their original contexts and intuitively redesigned according to their formal qualities or aesthetic resemblances, to create these wavering lace-like designs. Apparently unconnected, they nevertheless sketch a plurality of narrative outlines, prompting a reflection on the production of meaning influenced by the principles of dialogism and intertextuality [1]. This algorithmic exploration persists through the activation of empty space afforded to the artist by the Scherenschnittetechnique. This Swiss German artform involves the removal of the tangible to create the desired image; as light passes through the sculptures, a shadow theatre is created. The deliberate play between the immaterial and the tangible adds a new layer to the question that Klingender seems to pose: how does a visual or (in every sense) reflective object change when it migrates from a system of visibility to another system? - Chloé Grondeau, translated from French by Sarah Knight ----------- [1] According to Mikhail Bakhtin’s concept of dialogism (1929), all speech, thought or production of meaning is built through its relationship to other voices, discourse, and points of view. According to the concept of intertextuality, notably developed by Julia Kristeva (1966), and drawing on Bakhtin’s ideas of dialogism, all text – and, by extension, all cultural production – absorbs, transforms and reactivates other texts, images or preexisting forms. |
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