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DIALOG - TRIALOG #2

Künstlerbund Baden-Württemberg

Museum Biedermann | 78166 Donaueschingen | Museumsweg 1 | Germany
Nov 24, 2013 through Feb16, 2014

TAGGED: Info +++ Artists +++ Contribution +++ Statement +++ Reviews

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INFORMATION

trialog_logoThe Museum Biedermann not only shows the stocks of its own collection in changing exhibitions, but also occasionally opens its doors to guests.

Networking and cooperation with other art institutions and artists is essential here. After scholarship holders from the Kunststiftung Baden-Württemberg and the VAF Foundation, which is active in Italy, were guests at Museum Biedermann in 2012, works by members and guests of the Künstlerbund Baden-Württemberg have been presented in two partial exhibitions under the title "Dialog - Trialog" at Museum Biedermann since summer 2013.The first part of the exhibition "Dialog - Trialog" can be seen at Museum Biedermann from June 30 to November 3, 2013. For this, 21 members of the Künstlerbund Baden-Württemberg have each invited a guest with whom they have jointly developed an artistic concept for the rooms of Museum Biedermann.

The 21 artist couples from the first part of the exhibition have each invited another artist to the "Trialog" for the second part, however, the Künstlerbund member is no longer represented with his own work in this exhibition, but takes on the role of a "curator" for his "guests": "Dialog - Trialog" thus shows the artistic confrontation of three artists each in an experimental-open collaboration.

A catalog will be published for the opening of Dialog - Trialog #2 on Nov 24, 2013. In it, the lines of development of both exhibitions are documented and made reconstructible in text and image.

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PARTICIPATING ARTISTS (each member: guest 1 & guest 2)

Olga Allenstein: Eva Früh & Esther Strub
Beate Baumgärtner: Stefanie Reling & David Burns
Eva Borsdorf: Margarete Lindau & AndreasMy
Willi Bucher: Hans-Jürgen Kossack & Tobias Maximiliam Schnell
Annalisa Cardinale: Linda Eberle & Jong Hyun Park
Friedemann Flöther: Philipp Morlock & Klaus Fabricius
Irmela Maier: Albrecht Schmidt & Miriam Lenz, Immanuel Preuss
Daniel Mijic: Reto Boller & Guido Vorburger
Heinz Pelz: Myriam Holme & Jörg Baier
Sigrid Perthen: Andreas Bressmer & Bruno Nagel
Christoph Poetsch: Christian Ertel & Skafte Kuhn
Anne Römpp: Julia Wenz & David Semper
Uwe Schäfer: Roland Schön & Jost Scheider
Martin Bruno Schmid: Xaver Sedelmeier & Philipp Haager
Alf Setzer: Micha Ullmann & Abi Shek
Eckart Steinhauser: Christine de la Garenne & Julia Pfeiffer
Markus Strieder: Thomas Deyle & Karolin Bräg
Heinz Treiber: Harald Kröner & David Heitz
Voré: Simon Pfeffel & Wolfgang Rempfer
Elisabeth Wagner: Platino & Samuel Seger

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CONTRIBUTION:

Klaus Fabicius: dialog-trialog 1Klaus Fabicius: dialog-trialog 2
Klaus Fabicius: dialog-trialog 3
Klaus Fabicius: dialog-trialog 4Klaus Fabicius: dialog-trialog 5
Klaus Fabicius: dialog-trialog 6Klaus Fabicius: dialog-trialog 7
Klaus Fabicius: dialog-trialog 8

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STATEMENT

... in desire
applied fantasy
destructive quiet joyful
in the moment ...

A rectangular two-storey door wall created by Philipp Morlock shows black and wooden with glossy surface ... one door leaf is covered with glass ... you can't look inside, it's at an unreachable height for us ... all doors are closed and probably locked ... it is a peculiarly beautiful form, which in the first impression looks like a black monolith ... a mystical place ...

one walks around the surface or has chosen another point of view... it does not close as a square of doors, but is built to the end of the square with a lath framework at the same height... the lath framework appears raw and is covered with a skin that is almost opaque... plastic spikes protrude from it in some places ... a non-functional door marks the entrance to the enclosed space ...

small white filled fabric bags nestle against the lower edges, which could give the statics an additional stabilizing function ... one of these fabric bags nestles comfortably and delicately against a black door leaf ... at the top, the covered walls cling to Philipp Morlock's idea with two screw clamps ... my reaction to Philipp Morlock's work ...

starless bibleblack ... the lettering from the earth of the museum park ...

the room ... not very large, large enough however to accommodate a table and a chair ... both pieces of furniture old and used ... the chair with the legs tilted as if knocked over in a great hurry, but softly fallen on a white cushion ... absurd ... why is the table crooked? ... a strange situation ... on the table top a stone circle ... an old bible in Hebrew script grown together with a crow's wing ... a vase filled with water for a delicate lead flower and a branch ... a bronze small TV with golden reflecting screen ... the drawer of the table pulled out and filled with black earth ...

what else is in the room? ... a crouching white hare ... a hatchet facing him in the hare's eye ... an etching framed in glass with a proud knight on a white cold-blooded horse riding past a small tree grown from pieces of wood ... the artificial tree with three hazelnuts ... they are always cracked ... the writing starless bibleblack shines through ... a mood of deepest blackest hopelessness? ... on the other wall a monitor set in rusty iron ... the screen actually shows nothing but white noise ... the bitten golden apple ... forgotten in a wooden corner ...

outside behind the door a broom ... on the ground a place with tree barks and pieces of briquette ... in it a golden pea ... a small sun... all held in the color specification of Philipp Morlock... this unites visually ... united in time also by the material of things

but what is all this and with each other? ... I would like it if it were read like a picture that creates moods that have a disturbing effect and that we can accept or reject ...
in the best case like a title of John Berger Against the devaluation of the world ... which I describe as

...in desire applied imagination destructive quiet joyful in the moment...

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PRESS

A DIALOGUE BECOMES A TRIALOGUE
Review in: Schwarzwälder-Bote on Jan 17, 2014

Everyone wants to be unique. Artists in particular want to and should work out their unmistakable signature. But the Künstlerbund Baden-Württemberg has tried out an unusual exhibition concept, which can now also be seen at Museum Biedermann: the focus is not on the individual member, but on small groups of artists working together to develop a position.

In the first part of the exhibition "Dialogue-Trialogue", which has already ended, each member of the Artists' Union invited a guest and showed an artistic position together with him. Now, in the second part of the exhibition, the dialogue has become a trialogue. The total of 21 artist pairs have each invited a further exhibition guest, while the Künstlerbund member has stepped back and now acted as curator instead.

What does that look like in concrete terms? What is hidden behind the black doors, for example? Philipp Morlock, one of the first artist guests in part one of the exhibition, has painted doors black and built a rectangular, two-story door wall out of them. Massive, large, and somewhat forbidding, it blocks the viewer's view of what lies beyond. One cannot get through these doors. Aesthetically but at the same time quite threateningly, the black monolith gleams in space. In the first part of the exhibition, Friedemann Flöther - a member of the Künstlerbund and thus host to this pair of artists - positioned a rocket behind it, which, however, could only be seen if one had circled the rectangle. Flöther also works with contrasts: his rocket is covered with a pale pink patterned wallpaper, which contradicts the shape of the flying object with which men landed on the moon, realized their dreams and wanted to fly high.

The two artists invited Klaus Fabricius to the Trialogue on view at Museum Biedermann, who liked the concept right away: "This is enormously exciting, I wanted to react to the angles of the doors, and after visiting the site and thinking it over, I joined in, electrified. I told the two that I would come up with something, but that I didn't like to be talked into it. For the two of them, it was full risk," Fabricius recalls. So Flöther took down his wallpaper rocket and ceded the space to his colleague. "I also went up the four meters that Morlock's art installation specified with my wooden construction and site tarpaulin to signal community. I clawed at his art with the screw clamps," Fabricius explains.

While the Dialogue addressed the world of contrasts, the Trialogue turns the parts into a wondrous whole that retains its secrets. And those who dare to take a look behind the black doors are rewarded with many stories.

Source: http://www.schwarzwaelder-bote.de/inhalt.donaueschingen-aus-einem-dialog-wird-ein-trialog.6444ef2a-69ee-4da7-83b5-ed217c818b7c.html

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HOW A DIALOGUE BECOMES A TRIALOGUE.
On the current exhibition at Museum Biedermann.
Concept of the Baden-Württemberg Artists' Association bears fruit
Review in: Neckarquelle | Villingen Schwennigen | Dec 30, 2013]

Everyone wants to be unique. Artists, in particular, want to and should bring out their unmistakable signature. But the Künstlerbund Baden-Württemberg has tried out an unusual exhibition concept.

The focus is not on the individual member, but on small groups of artists working together to develop a position. In the first part of the exhibition "Dialogue-Trialogue", which has already ended, each member of the Artists' Union invited a guest and showed an artistic position together with him. Now, in the second part of the exhibition, the dialogue has become a trialogue. The total of 21 artist pairs have each invited a further exhibition guest, while the Künstlerbund member has stepped back and now acted as curator instead.

What does that look like in concrete terms? What is hidden behind the black doors, for example? Philipp Morlock, one of the first artist guests in part one of the exhibition, has painted doors black and built a rectangular, two-story door wall out of them. Massive, large, and somewhat forbidding, it blocks the viewer's view of what lies beyond. One cannot get through these doors. Aesthetically but at the same time quite threateningly, the black monolith gleams in space.

In the first part of the exhibition, Friedemann Flöther - a member of the Künstlerbund and thus the host of this pair of artists - positioned a rocket behind it, which, however, could only be seen if one had circled the rectangle. Flöther also works with contrasts: his rocket is covered with a pale pink patterned wallpaper that contradicts the shape of the flying object with which men landed on the moon, realized their dreams and wanted to fly high.

The two artists invited Klaus Fabricius to the Trialogue currently on view at Museum Biedermann, who liked the concept right away: "This is enormously exciting, I wanted to react to the angle of the doors, and after visiting the site and thinking about it, I was electrified and joined in. I told the two of them that I would come up with something, but that I didn't like to be talked into it. It was full risk for them," Fabricius recalls. So Flöther took down his wallpaper rocket and ceded the place to his colleague.

"I also went up the four meters that Morlock's art installation specified with my wooden construction and site tarpaulin to signal community. I claw at his art with the screw clamps," Fabricius explains. The artist, who comes from Paderborn and lives in Stuttgart, has designed a kind of "self-portrait," an interior situation that offers plenty of opportunities for discovery.

Inside, there is a table, but on shaky ground: one of the table legs stands on either plates, an unhewn stone, a block of paper and a sack. The center, the place of assembly is tilted. On it a stone circle with stones Fabricius found at Lake Constance and whose grain forms a line. A bible with a crow's wing clamped in it. a small television with a golden matte screen: this sculptor drapes all sorts of strange, absurd details into his 3D coliage here. "It was only at the exhibition site that the work came together to form a complete picture. I came to the museum with the idea and the material, and while building and placing it, I decided what really goes and fits. It was a creative process in which a walk-in sculpture emerged on site." explains Fabricius.

An etching hangs on a wall, a bitten golden apple lies on a beam, a Hörl rabbit squats in the corner, an axe leans opposite. And outside the door is a small universe swept together from briquettes and golden pea. "I wanted to evoke memories, to inspire. The installation can be read like a picture that creates moods that we can spontaneously accept or reject, but that are touching," Fabricius describes.

Flöther and Morlock are satisfied with the result without reservations. Whereas the Dialogue focused on the world of contrasts, the Trialogue turns the parts into a wondrous whole that retains its secrets. And those who dare to take a look behind the black doors are rewarded with many stories. eb

Source: http://www.museum-biedermann.de/cms/upload/presse/pressearchiv/Presse-Echo_Neckarquelle_131230.pdf

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