Gernot Wieland, Untitled, 2008, 42 x 59,4 cm
you do not leave traces of your presence, just of your acts
28.01. - 14.03.09
Opening: Dienstag, 27.01.2009 - 19 Uhr
Danach laden wir mit der Galerie Mezzanin und Galerie Meyer Kainer ins "Impuls of Sound" (Gumpendorfer Str. 2) zu einer gemeinsamen Party
mit der Band "Lederlust" aus Düsseldorf, DJ Severin Dünser, DJ Alien Wolf
In his second solo exhibition at Galerie Andreas Huber Gernot Wieland presents new collages, objects, and pigment prints.
Based on a letter addressed to the Institute for Psychoanalysis in Berlin, in which doctor Max Eitingon analyses the dream of one of Sigmund Freud's patients, Gernot Wieland questions the construction of reality. The transformation of real things such as a walking cane, people or spaces that occur in the dream are Wieland's starting point. The artist regards the dream's visions as result of a historical and social process that lead precisely to these images' production. In his own documentary work, Wieland reprocesses these images which are documented only in the description of an analyser that was dreamt by one of his patients, and are only graspable because they were imparted in a letter.
This interlacing method is typical for Gernot Wieland's work who, by means of this, questions existing codifications of hermetic structures, as well as their construed artificial note.
Annette Südbeck: "… When thinking about the characteristics of Gernot Wieland's approach one - and this observation separates his work from many other current artistic strategies starting off with documentation - is that he does without any form of verbalisation in the sense of a recorded oral history.
Instead, Wieland tells a story of forms, and how they transform and change meaning when being told and retold again.
Gernot Wieland is less interested in creating a coherent narrative, or in closing the system but rather in accumulating information. Any marginal note is regarded as equally important. In fact, in the fragmentarity of the work there are more or less only marginal notes, but - paradoxically- all of them are powerful enough to claim a central plot line."