Eoin Mc Hugh in Schnitt Schnitt
3 October 2016 – 8 January 2017
The exhibition „Cut Cut“ concludes the programme of the Kunsthalle Darmstadt for 2016, which concentrates on the interdependence of film, photography, painting, and animation. Collage, by definition is intermedial and a genre transgressing artform brought into focus. As with „Painting and Film“ (01.05.-24.07.2016) the focus of the exhibition lies on contemporary art productions, and connections to historical positions.
This exhibition invites viewers to look at the selection of artists as well as to go on a journey of regional discovery. Iranian artist Nazgol Ansarinia, and South-European artists Radenko Milak and Roman Uranjek attest to the universality of the collage principle. One of the pioneers of the art of collage, Alfred Nungesser, lived and worked in Darmstadt, whilst today Annegret Soltau and Martin Brüger tread new paths in collaging.
The exhibition aspires to question the topicality of collage. To this end, classical modern positions and positions of the sixties are presented alongside contemporary artists. The concept of „Cut Cut“ is not only distinguished by its intermedial, but also by its cross- generational and historically dynamic unterstanding of collage. However, „Cut Cut“ does not limit collage to working two-dimensionally with scissors and paper but, takes the collage principle further.
The exhibition „Cut Cut“ explores the spacial potential of collage. Irish artist Eoin McHugh collages sculptures and carpets, whilst Urich Horndash extends the scope of collage with his wall installation, which will be developed specially for the exhibition at the Kunsthalle. Martin Brüger constructs a paravent out of the tram shelters located in the city center of Darmstadt, elevating it in the main hall of the Kunsthalle. As an anamorphosis, depending on the viewpoint, the space will be cut by a straight line, or reflected and refractured, making processes of perception visible in space.
Processes of medial perception and intentionality are taken up by the Iranian artist Nazgol Ansarinia in her collage series „Reflections/ Refraction“ regarding the newspaper. Instead of just cutting it, she demonstrates the cut-up character of the newspaper itself regarding censorship and „the scissors in the head“. However, Marcel Odenbach’s collages, are not recognizable as such at first glance, they deceive the viewer about their actual content, which unfolds only when looking closly at the fragments of the collages.
The moment of deception and illusion also plays an important part in Alexander Tillegreens sound installation, which is based on the octave illusion. Regarding his sound and tape experiments American author William S. Burroughs describes language as a virus. This virus is being cut-up and newly assembled, thus mutated, in order to be spread. This process questions hegemonial practices of language and leads to an expansion of consciousness. The collage principle is being expanded to language and to sound.
The exhibition also shows positions of artists, who go beyond the principle of productive destruction. Radenko Milak and Roman Uranjek deal with world events in their series „Dates“ which have a ghostly presence in their collages whilst Raphael Danke evokes the absence of something in his collages created by a pracice of cutting.
Therefore the exhibition „Cut Cut“ focuses on collage as a decidedly intermedial and interdisciplinary artistic practice and questions the collage principle and its possibility to break up and bring to mind processes of perception and meaning-making.
William S. Burroughs