Artists
\nTom Albrecht<\/a>, Stephan Gro\u00df<\/a>, Pia H\u00f6hfeld, Vera Leisibach<\/a>, Christine Lengtat<\/a>, Vera Menold<\/a>, Brigitte Nolden<\/a>, Riiko Sakkinen<\/a>, Kollektiv Thinking of Yves<\/a>, Violetta Vollrath<\/a>, Lioba von den Driesch<\/a>, Misha Waks<\/a>. Special guest: L\u00e9onard Chemineau<\/a><\/h4>\nLink to text and program of the exhibition<\/a><\/h2>\n <\/p>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1836.jpg\")
<\/a>
\n<\/div><\/div>\nTom Albrecht<\/a>
\nSpin doctor<\/strong> (2024)<\/p>\nObject: Articulated wooden doll, model oil drum, solar cell, moss, thread<\/p>\n
A doll stands on moss lying on an oil drum. In each hand it holds a \u201cstring\u201d connected to a solar cell.
\nThe spin doctors in the press, lobby and politics influence policy and public opinion. As representatives of the fossil fuel industry, they slow down the development of renewable energy production and use. But the spin doctors are also people who and their children will increasingly feel the effects of the climate crisis.<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1832.jpg\")
<\/a>
\n<\/div><\/div>\nStephan Gro\u00df<\/a>
\nBlame It on the Sun<\/strong> (2024)<\/p>\nTypographic, digital print on neon yellow paper<\/p>\n
The sun is a climate factor, but the influence of its natural intensity fluctuations on the climate has been much smaller than the influence of humans for decades. Nevertheless, reactionary forces blame the uncontrollable celestial body, which cannot defend itself against it: “Those who want us to turn our entire lives upside down again and that we basically end CO2 emissions, they have to prove to us that this is the case and they have to prove to us that climate change has nothing to do with solar energy and solar intensity” (Beatrix von Storch)<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1870.jpg\")
<\/a>
\n<\/div><\/div>\nPia H\u00f6hfeld
\ntall tales (installation) and fire starter (performance)<\/strong> (2024)<\/p>\nBlocks of old, shredded newspapers from the Springer Verlag (“Bild” newspaper and “BZ”) that were collected from the trash<\/p>\n
The Springer Verlag, a German publisher, is often accused of printing misinformation on the subject of climate change and its effects on the environment. The spread of false information is splitting public opinion on this very relevant topic, making fact-based communication during social discourse increasingly difficult. The wall-like installation, which consists of shredded newspapers from this publisher, symbolizes how dangerous this sensationalist rhetoric and the publication of non-evidence based information can be. The blocks pile up high until they separate the physical space, making the divide palpable. At the finissage, one of the newspaper blocks is burned during a performance, literally becoming a fire starter, similar to how its source material fuels the climatechange-negation in Germany.<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1788.jpg\")
<\/a>
\n<\/div><\/div>\nVera Leisibach<\/a>
\nIn Reverse<\/strong> (2020)<\/p>\nVideo Installation, Archive material, YouTume sources, 1920\u200a\u00d7\u200a1080, AAC, H.264, HD (1-1-1), 22:19 Min<\/p>\n
In Reverse examines the climate debate in the USA and Australia and the role of the media in dealing with so-called climate critics. The work questions not only the perception and representation of the climate crisis, but also the strategies of suppression and manipulation that are widespread in the public debate. In Germany, too, we see this delaying discourse by the CDU and FDP, which do not put forward any real proposals for solutions. In Reverse brings these repressed but crucial issues to the fore and challenges us to face reality instead of lulling ourselves into a false sense of security. The work confronts us with anger, incomprehension and the challenge of dealing productively with these emotions. How can we respond confidently to the provocative and often manipulative arguments? Do we seek dialog over a beer with people who think differently?<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1795.jpg\")
<\/a>
\n<\/div><\/div>\nChristine Lengtat<\/a>
\nLevel Meter<\/strong> (2024)<\/p>\nDirect printing on Alu-Dibond<\/p>\n
In \u2018Level Meter\u2019 I refer to common water level gauges, as they are used in harbours and locks etc., true to scale. By omitting the numbers and drifting the individual elements apart, an alienation takes place that runs counter to the original purpose. What is being measured here cannot be grasped:
\nGrowing immoderation leads to the collapse of systems believed to be secure, a distorted perception can obscure this. Not recognising the obvious leads to a deformation in thinking, reflected here in an altered construction that has come apart at the seams.<\/p>\n<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1794.jpg\")
<\/a>
\n<\/div><\/div>\nVera Menold<\/a>
\nSurvival of the Sickest<\/strong> (2023)<\/p>\nOil, charcoal, felt-tip pen and tape on canvas<\/p>\n
With \u201cSurvival of the Sickest\u201d, I address the excuse that the climate crisis is fated and unavoidable. The work shows how death, pollution, greed and avarice are justified as natural developments. The dying fish crowd symbolizes death & pollution. Mirrors symbolize the attempt to see the truth, but they deceive: What seems visible remains invisible. The self-questioning fails. The mirror as a symbol of illusion and deception in the narratives that help us to repress, simultaneously calls for self-reflection.<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1883.jpg\")
<\/a>
\n<\/div><\/div>\nBrigitte Nolden<\/a>
\nPEANUTS (quinquepartite)<\/strong> (2024)<\/p>\nAssemblage: Acrylic, oil, peanut shells, photo print, threads on packing box<\/p>\n
Like in a puppet theater, the actors, politicians and spin doctors in blue suits hang on strings.
\nThey are controlled by invisible forces and their interests are steered. Their PEANUTS become a field of the dead.
\nThe picture background of the assemblage is made of cardboard boxes, brought by a rushed messenger.
\nThe photo prints in the collage are from the Internet.
\nFor the harvest of the peanuts was heavily toiled in a distant country.
\n<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1776.jpg\")
<\/a>
\n<\/div><\/div>\nRiiko Sakkinen<\/a>
\nClimate Change Denial Is Not a River in Egypt<\/strong> (2024)<\/p>\nPermanent marker and adhesive label on an Aldi soda can<\/p>\n
\u201dDenial is not a river in Egypt\u201d
\n(humorous) Used to point out that somebody is in a state of psychological denial<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1887.jpg\")
<\/a>
\n<\/div><\/div>\n Kollektiv: Thinking of Yves<\/a>
\nI love me so. Me too, honey!, episode 23<\/strong> (2021-2024)<\/p>\nVideo, Datentr\u00e4ger<\/p>\n
Based on the successful US reality show \u201cThe Apprentice\u201d, a camera team accompanies the American wannabe magnate and incumbent president Donald Sinclair during his activities for a day.<\/p>\n
In the three-minute video, the hero Donald Sinclair experiences first-hand what it means when the forces of nature damage property. Despite this, he praises the clean air in his home country of America and dismisses references to climate change as fake news.<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1847.jpg\")
<\/a>
\n<\/div><\/div>\nVioletta Vollrath<\/a>
\nThe Red Thread<\/strong> (2001\/2024)<\/p>\nColor prints (originals: 50 cm x 70 cm, acrylic\/oil pastels on paper), cotton thread<\/p>\n
These could all be statements and demands from politics and business, only one is real (Roman Herzog), a man-made problem is supposed to be a scourge, like a plague? The economy as a natural disaster? The fictitious statements begin like real statements by politicians and end in unmasking promises or demands. The sometimes difficult readability of the text corresponds to the strange ambiguity when real statements are supposed to come to concrete statements, 25 years ago as well as today, which runs like a red thread through economic history.<\/div><\/div><\/div>\n
\n
\n![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1854.jpg\")
<\/a>
\n<\/div><\/div>\nLioba von den Driesch<\/a>
\nKyrie Temperature Anomalies over Land and over Ocean from 1880 to 2023<\/strong> (2024)<\/p>\nColor print, audio file<\/p>\n
The infographic (source: NASA) of the temperature anomalies over land and ocean is reminiscent of the square notation of Gregorian chant. I have placed a Kyrie under the curves and, adapted to my extreme vocal limits, sung them in 2 voices: an attempt to establish a physical relationship with them.<\/p>\n
The Kyrie stands for the belief in a God who is supposed to have “mercy”, in a cosmic harmony that can be heard in the liturgies and to which everything returns – faith alone helps, so faith says. Everything is directed towards an afterlife, for better or for worse.<\/p>\n
Even the very worldly statistical curves seem like incantations in view of the fact that scientists feel at their wits’ end because, despite research and publications over decades, no decisive decisions have been made.<\/p>\n
Lioba von den Driesch, September 2024<\/div><\/div><\/div>\n
<\/p>\n
\n
<\/a>\n<\/div><\/div>
\nSpin doctor<\/strong> (2024)<\/p>\n
Object: Articulated wooden doll, model oil drum, solar cell, moss, thread<\/p>\n
A doll stands on moss lying on an oil drum. In each hand it holds a \u201cstring\u201d connected to a solar cell.
\nThe spin doctors in the press, lobby and politics influence policy and public opinion. As representatives of the fossil fuel industry, they slow down the development of renewable energy production and use. But the spin doctors are also people who and their children will increasingly feel the effects of the climate crisis.<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nBlame It on the Sun<\/strong> (2024)<\/p>\n
Typographic, digital print on neon yellow paper<\/p>\n
The sun is a climate factor, but the influence of its natural intensity fluctuations on the climate has been much smaller than the influence of humans for decades. Nevertheless, reactionary forces blame the uncontrollable celestial body, which cannot defend itself against it: “Those who want us to turn our entire lives upside down again and that we basically end CO2 emissions, they have to prove to us that this is the case and they have to prove to us that climate change has nothing to do with solar energy and solar intensity” (Beatrix von Storch)<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\ntall tales (installation) and fire starter (performance)<\/strong> (2024)<\/p>\n
Blocks of old, shredded newspapers from the Springer Verlag (“Bild” newspaper and “BZ”) that were collected from the trash<\/p>\n
The Springer Verlag, a German publisher, is often accused of printing misinformation on the subject of climate change and its effects on the environment. The spread of false information is splitting public opinion on this very relevant topic, making fact-based communication during social discourse increasingly difficult. The wall-like installation, which consists of shredded newspapers from this publisher, symbolizes how dangerous this sensationalist rhetoric and the publication of non-evidence based information can be. The blocks pile up high until they separate the physical space, making the divide palpable. At the finissage, one of the newspaper blocks is burned during a performance, literally becoming a fire starter, similar to how its source material fuels the climatechange-negation in Germany.<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nIn Reverse<\/strong> (2020)<\/p>\n
Video Installation, Archive material, YouTume sources, 1920\u200a\u00d7\u200a1080, AAC, H.264, HD (1-1-1), 22:19 Min<\/p>\n
In Reverse examines the climate debate in the USA and Australia and the role of the media in dealing with so-called climate critics. The work questions not only the perception and representation of the climate crisis, but also the strategies of suppression and manipulation that are widespread in the public debate. In Germany, too, we see this delaying discourse by the CDU and FDP, which do not put forward any real proposals for solutions. In Reverse brings these repressed but crucial issues to the fore and challenges us to face reality instead of lulling ourselves into a false sense of security. The work confronts us with anger, incomprehension and the challenge of dealing productively with these emotions. How can we respond confidently to the provocative and often manipulative arguments? Do we seek dialog over a beer with people who think differently?<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nLevel Meter<\/strong> (2024)<\/p>\n
Direct printing on Alu-Dibond<\/p>\n
In \u2018Level Meter\u2019 I refer to common water level gauges, as they are used in harbours and locks etc., true to scale. By omitting the numbers and drifting the individual elements apart, an alienation takes place that runs counter to the original purpose. What is being measured here cannot be grasped:
\nGrowing immoderation leads to the collapse of systems believed to be secure, a distorted perception can obscure this. Not recognising the obvious leads to a deformation in thinking, reflected here in an altered construction that has come apart at the seams.<\/p>\n<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nSurvival of the Sickest<\/strong> (2023)<\/p>\n
Oil, charcoal, felt-tip pen and tape on canvas<\/p>\n
With \u201cSurvival of the Sickest\u201d, I address the excuse that the climate crisis is fated and unavoidable. The work shows how death, pollution, greed and avarice are justified as natural developments. The dying fish crowd symbolizes death & pollution. Mirrors symbolize the attempt to see the truth, but they deceive: What seems visible remains invisible. The self-questioning fails. The mirror as a symbol of illusion and deception in the narratives that help us to repress, simultaneously calls for self-reflection.<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nPEANUTS (quinquepartite)<\/strong> (2024)<\/p>\n
Assemblage: Acrylic, oil, peanut shells, photo print, threads on packing box<\/p>\n
Like in a puppet theater, the actors, politicians and spin doctors in blue suits hang on strings.
\nThey are controlled by invisible forces and their interests are steered. Their PEANUTS become a field of the dead.
\nThe picture background of the assemblage is made of cardboard boxes, brought by a rushed messenger.
\nThe photo prints in the collage are from the Internet.
\nFor the harvest of the peanuts was heavily toiled in a distant country.
\n<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nClimate Change Denial Is Not a River in Egypt<\/strong> (2024)<\/p>\n
Permanent marker and adhesive label on an Aldi soda can<\/p>\n
\u201dDenial is not a river in Egypt\u201d
\n(humorous) Used to point out that somebody is in a state of psychological denial<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nI love me so. Me too, honey!, episode 23<\/strong> (2021-2024)<\/p>\n
Video, Datentr\u00e4ger<\/p>\n
Based on the successful US reality show \u201cThe Apprentice\u201d, a camera team accompanies the American wannabe magnate and incumbent president Donald Sinclair during his activities for a day.<\/p>\n
In the three-minute video, the hero Donald Sinclair experiences first-hand what it means when the forces of nature damage property. Despite this, he praises the clean air in his home country of America and dismisses references to climate change as fake news.<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nThe Red Thread<\/strong> (2001\/2024)<\/p>\n
Color prints (originals: 50 cm x 70 cm, acrylic\/oil pastels on paper), cotton thread<\/p>\n
These could all be statements and demands from politics and business, only one is real (Roman Herzog), a man-made problem is supposed to be a scourge, like a plague? The economy as a natural disaster? The fictitious statements begin like real statements by politicians and end in unmasking promises or demands. The sometimes difficult readability of the text corresponds to the strange ambiguity when real statements are supposed to come to concrete statements, 25 years ago as well as today, which runs like a red thread through economic history.<\/div><\/div><\/div>\n
\n
<\/a>\n<\/div><\/div>
\nKyrie Temperature Anomalies over Land and over Ocean from 1880 to 2023<\/strong> (2024)<\/p>\n
Color print, audio file<\/p>\n
The infographic (source: NASA) of the temperature anomalies over land and ocean is reminiscent of the square notation of Gregorian chant. I have placed a Kyrie under the curves and, adapted to my extreme vocal limits, sung them in 2 voices: an attempt to establish a physical relationship with them.<\/p>\n
The Kyrie stands for the belief in a God who is supposed to have “mercy”, in a cosmic harmony that can be heard in the liturgies and to which everything returns – faith alone helps, so faith says. Everything is directed towards an afterlife, for better or for worse.<\/p>\n
Even the very worldly statistical curves seem like incantations in view of the fact that scientists feel at their wits’ end because, despite research and publications over decades, no decisive decisions have been made.<\/p>\n
Lioba von den Driesch, September 2024<\/div><\/div><\/div>\n
![\"\"](\"https:\/\/gg3.eu\/ausschreibungen\/uploads\/images\/1834.jpg\")
<\/a>