-ceramics-mixed media drawings-
Co-creators:
Photography and Asistence-Sabine Peter
Catalogue Design-Clemens Gensch
Text-Angela Liebe
Asistant-Elizaveta Kovalenko
In Similar–Ähnlich I presented a personal hoard composed not of precious artefacts, but of intimately gathered correspondences—arranged in a temporary constellation: some on the floor, others unfolding across the wall. The exhibition emerges from a practice between ceramics, drawing, video, and participation in collaborative projects. Here, the work is less about completion than about kinship: how things echo, resemble, lean toward one another—and how new forms are drawn out from the old.
These groupings are ähnlich to one another—similar not in sameness, but in resonance. A round, egg-like object, which I refer to as The Star Object, recalls its firing in an open fire on a rainy night. It now appears both as itself and in replication—its drawn and digital copies spreading outward, multiplying. A pencil line mirrors the soft edge of a wooden cut-out, practiced with a jigsaw—a tool that has scared me for many years prior. A collection of ceramic shards settles the bend of paper. An invitation to trace the relationships between materials and our interactions with them—not to decode it, but to dwell in their proximity.
There is no hierarchy here. Everything lies close to the ground or the wall. The hoard asks to be looked at slowly, perhaps even knelt beside. It is not an archive, but a breathing arrangement of almosts and nearlies, of things that remember each other across media, time, and language.
The exhibition opening was acompanied by the release of a catalogue titled In Case of Not Knowing, which both reflects on past works and offers poetic entry points into the present exhibition. Samples of the catalogue lie on a day bed built for the exhibition. Writing about the works in the catalogue Jasmin Al-Qaisi offers a thought:
“Daydreaming is resistance. It holds a politics of play and joy in itself. Methodologically dreaming, day-dreaming methodically—it’s an inheritance as well. Building worlds of possibility is making a case for a sense of things. The objects make sense in relation to the people around them who shape them through actual speech.’’ — Jasmin Al-Qaisi, In Case of Not Knowing
Similar–Ähnlich is both an exhibition and a calm proposal: that meaning often lives in what is adjacent, approximate, reflecting—not in what is fixed or identical, but in the gentle insistence of things that nearly touch.
Co-creators:
Photography and Asistence-Sabine Peter
Catalogue Design-Clemens Gensch
Text-Angela Liebe
Asistant-Elizaveta Kovalenko
In Similar–Ähnlich I presented a personal hoard composed not of precious artefacts, but of intimately gathered correspondences—arranged in a temporary constellation: some on the floor, others unfolding across the wall. The exhibition emerges from a practice between ceramics, drawing, video, and participation in collaborative projects. Here, the work is less about completion than about kinship: how things echo, resemble, lean toward one another—and how new forms are drawn out from the old.
These groupings are ähnlich to one another—similar not in sameness, but in resonance. A round, egg-like object, which I refer to as The Star Object, recalls its firing in an open fire on a rainy night. It now appears both as itself and in replication—its drawn and digital copies spreading outward, multiplying. A pencil line mirrors the soft edge of a wooden cut-out, practiced with a jigsaw—a tool that has scared me for many years prior. A collection of ceramic shards settles the bend of paper. An invitation to trace the relationships between materials and our interactions with them—not to decode it, but to dwell in their proximity.
There is no hierarchy here. Everything lies close to the ground or the wall. The hoard asks to be looked at slowly, perhaps even knelt beside. It is not an archive, but a breathing arrangement of almosts and nearlies, of things that remember each other across media, time, and language.
The exhibition opening was acompanied by the release of a catalogue titled In Case of Not Knowing, which both reflects on past works and offers poetic entry points into the present exhibition. Samples of the catalogue lie on a day bed built for the exhibition. Writing about the works in the catalogue Jasmin Al-Qaisi offers a thought:
“Daydreaming is resistance. It holds a politics of play and joy in itself. Methodologically dreaming, day-dreaming methodically—it’s an inheritance as well. Building worlds of possibility is making a case for a sense of things. The objects make sense in relation to the people around them who shape them through actual speech.’’ — Jasmin Al-Qaisi, In Case of Not Knowing
Similar–Ähnlich is both an exhibition and a calm proposal: that meaning often lives in what is adjacent, approximate, reflecting—not in what is fixed or identical, but in the gentle insistence of things that nearly touch.