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INSTALLATIONS
now future past

Guenter Weseler
SISYPHOS

8.9. – 12.10.2013

We are pleased to announce the opening of our new space DIEHL CUBE with an inaugural installation by Guenter Weseler, entitled SISYPHOS.

The show surveys Weseler’s considerable oeuvre, ranging from artworks from the 1960s to his more recent “Atemobjekt” pieces. In his paintings dating from the early sixties, Weseler is seeking to integrate energetic, spontaneous blotches of paint into the “organic” excesses that they feed on. Here, the integrative factor resides in the two-way accumulation into organic formations, which provide the area of energy with its centrality. Complexes of formations thus emerge that can certainly be regarded as figurative and even corporeal, and which sometimes evoke an erotic appeal.

A trained painter with an engineering degree, Weseler explored the possibilities of kinetic art already some half a century ago. And although he was a seasoned tinkerer with solid technical experience, technology was never an end in itself; his use of apparatuses never had the intention of glorifying the machine. Instead, he used organic energy in a way which signaled to the viewer in stunning, bewildering and even frightening ways that these objects are artificially, and mysteriously, alive. Maybe stemming from a different time or even a different planet, these animated beings suggest a process of eternal rise and fall rather than a defined beginning and end. And yet, their guarded but persistent to and fro is somehow reassuring.

Confronting Weseler’s work, the impression thus emerges – and not without reason – that in his “Atemobjekt” pieces, his agglomerations, and the sculpture “Sisyphos”, which all exude an aura of the fantastical and spellbound, the essential concern isn’t to do with anything mechanical, but rather with something profoundly human instead. The technical apparatus is fully in the service of an ingenious mind equipped with primeval magic, which, by means of safeguarding phsycho-mechanical empathy, raises the fundamental question of all the arts, namely the secret of life.

His organic, animalistic kinetics is likened to meditation: it knows the fragility of life and perishability in death, the presence of invisible forces, and the uncanny, but it also knows jest, prank, and the grotesque. It’s an artificially constructed human comedy, with all the absurdity of today’s “humanity”.

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