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Morgen und gestern, aber niemals heute
Kunstraum 34, Stuttgart

07.12.2023 - 09.12.2023

Photos: Johannes Ocker

At the time of the exhibition, it was already anticipated: Everything will be robbed of its body and the feast will already be over. The food had already been eaten, the operations of the bodies - already swallowed. They give way to the movements of the surface, the step back, away from the banquet, towards the image.


And then: we gather in front of a media-transported campfire deep inside the K34 digestive tract and remember:

What descended here from yesterday into the tomorrow of reappraisal, it was as sugary sweet as the jam that our grandmother used to withhold from us on the highest shelf and will continue to do so. Ah, nothing is easier to put on a pedestal than the unattainable carrot held in front of your nose with a fishing rod.
 

"I don't care for marmalade," says Alice in "Alice Behind the Mirrors" (Lewis Carroll, 1871) - and even if it is very good marmalade, she doesn't want any today - whereupon the white chess queen clarifies her recursive way of playing with language:
 

"You couldn't get any even if you wanted it, the rule is jam tomorrow and jam yesterday - but never jam today."

Mind-woven mirror cabinets like ornamental knots that are tied and pulled apart with great pleasure, without purpose.


Like a rose with many thorns, beautifully useless.

Always out of reach. And what about us? We remain in the limbo of fear of missing out on something.
 

Before you go into yesterday, go through tomorrow and then make a decision: from here on, today will never literally fall by the wayside on the way from the beginning to the end. "Becoming that divides itself into past and future ad infinitum, always avoiding the present." (Deleuze, Gilles: "Logik des Sinns". Berlin 1993, p. 20), that is the sphere of thought that loses itself in self-referential systems.
 

The exhibitors Daniel von Alkier, Hyunjin Kang, Mimi Kohler, Jim Kunze, Yun Park, Lorenz Schöller, Reiteq Tejzt and Benedikt Waldmann, under the direction of Juli Gebhardt, remember yesterday in tomorrow and present a distant prospect: the jam of today!

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(Text: Reiteq Tejzt)

 

The exhibition concept of "Tomorrow and yesterday, but never today" adopts the dichotomy of "white cube" and "black box" as exhibition modes.

The exhibitors' works were first shown as a preview to a small group of viewers in the whitewashed, regular exhibition rooms and filmed in the process. In the second step, at the screening of the video recordings in the dark basement a week later, the visitors became observers of this first exhibition situation.

The recordings of the exhibition in the "White Cube" were thus shown as video projections in a kind of "black box". According to Brian O'Doherty's text "Inside the White Cube" (1996), artworks are transformed into art as soon as they are exposed to the whiteness of the "neutral" exhibition space.

Nowadays, there is certainly a second level of transformation in this alchemical process of art creation - the media reproduction of works and their circulation on the net.

(Text: curator Juli Gebhardt)

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