Static marks the first solo exhibition by Berlin artist Lena von Goedeke (*1983) at Galerie Britta Rettberg in Munich. Originally planned under different circumstances for spring 2020, the concept of the exhibition transformed during the pandemic to become an atmospherically trenchant view of individually and collectively experienced shifts and distortions caused by the lockdown’s temporal caesura.
Lena von Goedeke’s artistic oeuvre is not limited to any one medium or technique but revolves around the specific qualities of the material she chooses for realizing her works and the questions that arise from these. Her virtuoso treatment of extremely different materials and the concentrated and precise implementation of the underlying concepts and ideas are based on physical phenomena, her own expedition experiences in the Arctic extremes, and her regular transgressions of borders in digital transit. In her sculptural work, priority is given to the transformation of a single material into a complex and subversive statement about our perception of the world, whereas in the case of her precise paper cuts and photographs, the artist explores both the potential and the risks of a digitally pre-sorted perception of the world.
Static, the title of the exhibition, has been borrowed from the root of the word stasis, which describes the balance between two forces, or the suspension of currents, a kind of breakneck standstill, dyschronic dynamics. Static also denotes white noise, frictional electricity and radio connections.
Lena von Goedeke’s new show measures the experience of expanded, fragmented and alien temporality that followed the abrupt beginning of the pandemic against the backdrop of the digital, sprawling, instantaneous network communications.
The physical sensation of distance, contamination and sterility; the foreign nature of one’s own skin, the lack of resistance and antibodies, all find expression in mimetic objects made of glass and ceramics, while the noise behind the screens is translated into tangible material as a minutely drawn glitch and highly fragile paper cuts.
The space-filling floor installation At the tone the time will be at the center of the exhibition ultimately touches upon our desire to imbue the progression of our own time of isolation with meaning.