Hannes Broecker I Martina Wolf

ZWISCHENDURCH: KONKRETE WÄNDE

 

In public spaces Hannes Broecker is looking for unconsumed, meaningful »images« within which the lower layers of our urban society are mirrored.
He is interested in those places and situations within which the arranged texture of the urban space is roughened according to space, architecture and people and where traces of the continual collective usage show and the individual use of the city – also the one withstanding rules and standards – is becoming visible.
Streets torn open, a path blocked by bulky waste, sleeping places of homeless people, walls covered in graffiti, hoardings decorated wildly with posters, the signal colours of barrier tape – emanating from such visual impulses and the thus belonging realities Broecker is intuitionally layering his images, objects and installations. Loud and abrasively the viewer is often confronted with impervious boundaries. Because it is not about the aesthetic cultivating of a trivial motif but the breaking of a familiar experience of every day life in order to rediscover ones own world …

Mathias Wagner (excerpt)
See newspaper: Layers, galerie baer, Dresden, 2011

»Involuntary images« – is what Martina Wolf likes to call her works and it sounds just like she wanted to force the found situations to become art in their afterlives. But the artist is not dealing with constraint as such regarding the motifs.
It is us, the viewers, who are pressured into a mode of alienation from our daily routine: the mode of slowness.
Especially when Martina Wolf is dealing with moving images the contrast becomes clear. Daily, the rhythm of fast steps and ceaselessly changing information determine our perception.
But Martina Wolf counts on one single image information and reduces the movement so drastically that the whole sequence seems static, similar to photographs. While composing her videos she is looking for framing elements that undermine that analogy. She loves fixing her camera and our perspective via long takes. Windows, mirroring architecture, close and open so slowly that reflection and illusion blur with reality. To wait for something becomes a principle and boundaries such as doors or window frames underline the »unbearable slowness of being«. The optical lockings reverse themselves into the contrary in front of her lens. They are meant to seal but open – involuntarily – new perspectives.

Susanne Altmann (excerpt)
see catalogue: Plaza Shows – Tür auf, Fenster zu, Commerzbank AG (publisher); Frankfurt am Main; 2011