15.03.-07.04.2024

at Magma Maria

with works by Nina Nadig, Daewoong Kim, Celia Zehetgruber, Swinda Oelke, Alexander Gdanietz

curated by Malte Möller, Lena Stewens

Considering the ceiling as a reference system, orientating oneself along the pipes, cable ductsand cross-bracing that run across its surface and locating works within these coordinates inevitably evokes a shift in one‘s viewing habits. Hence, the head must be tilted back and the torso leaned slightly rearwards in order to recognise how the works gradually merge with the architectural conditions. The construction of the building is largely supported by solid concrete pillars which are anchored in its structure. Although they do not fulfill a decorative function, they are fundamental for stability. It would appear that Daewoong Kim‘s „die Säule“ is also trying to serve such a purpose. The work depicts a pencil and charcoal drawing of an ancient column that stretches across several stacked cardboard boxes up to the ceiling. Kim based it on one of the columns of the „Gate of All Nations“, which was located in the ancient Persian residential city of Persepolis. Nevertheless, the city was destroyed by Alexander the Great in 330 BC. Since then, the column has remained free-standing, without a physical load-bearing function, but with a historical one. The column of empty cardboard boxes however, cannot withstand the actual weight of the ceiling, which is why it harbours the ever-present potential for collapse. Another work that deals with questions of stability and architecture can be found in Swinda Oelke‘s „Ruheposition“. A sort of video pendulum causes the room to oscillate repetitively, creating ambiguous doublings due to the visual overlapping of the projection and the ceiling structure. An almost invisible tension arises, which in particular raises questions about one‘s own spatial localisation. The play with distance and the allure of almost touching can also be found in Celia Zehetgruber‘s „solo, tutti“ and its installation. Two screens are mounted at a dizzying height and allow a glimpse at the two-channel video. In a never-ending loop, a pole dancer climbs up the rod, performs a pose, slides down the pole and starts all over again.Each shot impressively shows how the dancer is in constant control of her body tension, which at the same time is projected into the emptiness of the physical and metaphorical space in between – from gazing to discretion, intimacy to exposure, endurance to resistance. In her work „LUCK LOVE LUST LOSE“, Nina Nadig also allows deliberately charged gaps to emerge. A large game board made of lorry tarpaulins stretches across the ceiling. Reminiscent of backgammon, a two-player game based on luck (the throwing of the dice) and strategy (the movement of the stones on the board). Like almost every (board) game, it creates a constant tension, round after round, through the omnipresent desire to win and the equally high potential to lose. Through the powerfully tense installation, Nadig transfers all this tension back into the space. The promise of a gain plays a key role in Alex Gdanietz‘s „Aktion“ as well. In his ongoing exploration of social spaces, architecture and the accompanying societal habitus, Gdanietz became aware of promotional signs used in discount stores. On the one hand, they serve as an orientation aid to help with the localisation in and between the aisles. On the other hand, they are meant to encourage a targeted movement towards supposed bargains. However, the objects, which at first glance appear to be readymades, are deprived of this commercial purpose. Although „Aktion“ hovers above the viewers‘ heads, within the context of the exhibition it rather refers to one‘s own self as well as to the obvious void. About (in)stability, localisation and the potential of the space in between – „Floor Plan“ brings together works that not only turn the architecture of the exhibition space upside down and evoke an almost childlike sense of wonder, but also enable a different perspective on everyday moments, infrastructure and social interaction. Text by Vivien Kämpf Magma Maria Hafenplatz 1-3, 63067 Offenbach am Main