HAUS MIT LICHT, WIESEN, 2009-2011
diasec mounted, archival pigment print
Corkin Gallery is pleased to announce an exhibition, celebrating new works by Leipzig-based artist, Frank Mädler. The exhibition will feature works from the series, Basic Motion, Gold, Shine and Wiesen. In these bodies of works, Mädler calls attention to the relationship between distance, time, technology and movement through an ambiguous approach of visual representation. Mädler takes the spectators on a visual journey and is able to create an atmosphere that arouses emotion within the spectators.
Mädler’s work has been written about by influential German curators and writers, including Christoph Tannert (Director, Künslterhaus Bethanien, Berlin), Tanja Dückers, and Katharina Menzel. His work is held in the collections of the Altana Kulturforum im Sinclair-Haus (Hamburg, Germany), the Kupferstichkabinett (Dresden, Germany), and the Mulder Foundation (Lima, Peru).
Basic Motion, 2010
Basic Motion captures swarms of unidentified, “white insects” Mädler calls them “flies” from the river Elster in Leipzig, Germany. We see their movements become slowly apparent on the film. Instead of showing the details of individual insects, Mädler is more interested in the balletic movement of the entire group, and how a given insectâ€™s flight path attracts and repels another. Thus, Basic Motion.
Gold captures views of the city of Prague from a far and elevated vantage point. The city is seen from behind a tangle of branches, creating a visual barrier between Mädler and the subject. He uses the physical distance between himself and the city, to show the psychological distance between his present self and his past experiences in the pre-democratic Eastern bloc. This distance also recalls the historical relationship between the two countries of Germany and, then, Czechoslovakia, since Czechoslovakia was of the few countries one could travel to from the German Democratic Republic. The detachment between the artist and subject is reinforced by the fact that Mädler’s father was among the ethnic Germans who were expelled from the Sudeten territories after the Second World War.
Wiesen is about Mädler’s photographic journey back to a former German village in the Czech Republic, Viznov; a place that has survived physically for forty years of socialism without change. This place arouses feelings of melancholy for Mädler; to Mädler’s imagination, the place evokes a sense of the former homeland. Viznov was a village where Mädler’s father grew up and was forced to leave when the village became a part of Czech Republic. The feeling of departing from one’s home that is significantly part of his father’s old childhood stories can be seen in the Mädler’s photographs. Using a box camera, Mädler integrates traditional and current photographic techniques to reinforce the feeling of displacement and fragmentation that was commonly shared among many German families after World War II.
The word “shine” in German has the same pronunciation and meaning as its English counterpart, but with additional connotations. “Shine” or “schein” or “drug” also refers to deceit, appearances, and the illusory. The photographs in Shine capture a selection of LED lights from electronics and appliances in the artist’s home. Mädler depicts technology as an overpowering force, beyond human control. The images take on a life of their own; inanimate objects appear as glowing, live entities. Like moths to a flame, we are drawn to the eerie and pulsating light of technology.
works in exhibition: