A screen visualised in oil; a Parthian sculpture destroyed in Mosul cast in ballistic gelatine; a drone simulating human empathy. During the exhibition Sublime Eroding, the artists Christoph Bartsch (G), Julien Dutertre (B), Sébastien Montéro (F), Michael Petri (AT), Nans Quétel (F), Norbert Reissig (G) and Martin Wühler (G) examine the varying levels of the Sublime.
In a world where everything appears to be reproducable, does the Sublime through this process of reproducability, lose its enchantment or its inclination to the unknown, its disturbing, puzzling nature, like most of its specific qualities?
Envision having to save the world from reproducibility, the Sublime could act as its imaginary lifeguard – this lifeguard, the one from our imaginary summer beaches – the embodiment of an idealised world, where sheer immenseness and danger are quietly controlled by this man in a T-shirt, slightly over muscular and a bit melancholic, always waiting for a rare affront.
Nothing can prove that this world is working towards its own decimation, like an erosion, when it has sustained itself since its beginning through reproductions.
This tendency to place ourselves within a collapsing world, rather than enjoying its head-spinning of a free fall, in which the T-Shirt of the lifeguard becomes a wing-suit, isn’t giving the right colour to the Sublime, other than the perfum of a distingished morbidity.
Between layered airstreams, the Sublime net; a trail of golden dust, why not until the great nanshole sucks us up: passing by rocks, touching the storm. This erosion could be merely a lack of our own understanding, its inability to catch the Sublime, its refusal to catch it, while the Sublime is able to do just that.
Let us suppose that this is a layered process, depending on the combination of these different levels. This matter of perspective is open to everyone and therefore will not allow for a decisive or final answer in the artist’s works. An actual form of the Sublime could emerge and even more, through what is left of it, from its own dust. Like a carbon 14-dating, from one time to another, a discussion lingering between epochs, one of the ultimate sublimations is the time machine powered by fiction, the very one which is continuing our day to day life.
Opening 20th November 2015, 7pm
9.30pm music by Baustolz von Streng & Grape
Concert: Warm Graves
Friday, 27th November, 9pm
Over the course of the exhibition Warm Graves perform fragments from their debut album Ships Will Come interwoven with improvised ambient/drone soundscapes. It’s not about serving typical listening habits but rather challenging the audiences’ comfort zone.
While we work 48h Intervention by Sébastien Montéro
Friday & Saturday 4th – 5th December
5th December Performance DEEP & SENSITIVE by Dominique Gilliot
Five young artists – Sophie Caudebec, Romain Petit, Mélanie Laglaine, Gaspard le Guen and Aline Choblet — occupy the W139 for 48h. They belong to a secret agency which allows them to be both here, and on the opposite side of the world, at the same time.
Workshop: The Sense of Self
Friday, 18th December,
6pm – 7.30pm workshop, 7.30pm dinner
A workshop which explores the essence and the depth of the inner self. Over one and a half hours of personality work, we will attempt to connect with our inner transcendence. The compassion exercises of Buddhist monks are merged with Indian Kundalini practices. Included in the workshop is a delicious dinner which will be served after the class and offers space and time for discussions.
Sunday, 20th December
1012 JB Amsterdam NL