One uses the typewriter. The other picks up a pair of bolt cutters.
Dirk Krecker and Ingo Gerken in different ways in their respective work question the emergence of images, their outer structure and inner density. For their investigation of the current goings-on in the world of images and art they use a search grid calibrated for actual informational content, referential scope, and media reality. Krecker here ventures out from a veritable flood of sequential signs which in places overlap and thus interlink to concrete motifs. Gerken, on the other hand, leaves the concrete open and cuts any recognizable object back to an abstract sign. He disassembles the complex chains of association which Krecker ties together over the course of many layers of work, reduces them again to their objective components, and thus brings them to a radical, yet easy, point.
Kecker’s mechanical image source codes stem from the typewriter. With it he virtually logs into the net, accessibility universal. His typewriter drawings are manually typed image files, sumptuous diaries, overlapping frequencies, commonplaces within a globalized idea of the world. Entirely formated by textual signage, their surfaces themselves become a visually impermeable no-go-area, a closed language grid. One that is painstakingly executed on paper. Linear, hypnotic, stamped-in. Squeeze the trigger.
Here he finds the dim commonplaces, the technological and social suburbs of globalization, and transposes and translates them painstakingly onto paper. His typewriter drawings are hand-written manuscripts, analogue image files, and sumptuous diaries. They tell of lost utopias, recall abandoned borderlines. Entirely formatted by textual signage, their surfaces themselves become a visually impermeable no-go-area, a closed language grid, linear, hypnotically stamped in.
Gerken’s wall objects, too, embody the idea of a closed, linearly structured image plane, this however from the perspective of its absolute permeability and spatial self-decomposition. Here the grid is simultaneously image carrier, image space, and image object. Or it is actually none of the above. Transparent as architectural residue, as a ruin, cracked-open cage skeletons become an almost incorporeal basic substance for processes of form and content. As spatial fragment and see-thru partition they put up a pointed, cutting resistance to being perceived. Yet they are no more than a mere suspension for a “before”, a “behind”, and an “in-between”.
The works of Dirk Krecker and Ingo Gerken define and block-off empty fields of vision, and locate the dilemma of the focus-turned-impossible within the relational structure of Minimal Art and Concrete Poetry. On this very construction site Gerken and Krecker both lend a strong hand. Here they collaborate in the same project, but each for himself and by way of his own means.
The photo on the invite card depicts the entrance to the Solomon R. Guggenheim Museum at NYC under renovation in the summer of 2007.