„The object, which is responded likewise the definite Sein is in fact a constant facies totius universi, within the founded equivalence of all its phenomena and the identity of the Sein. (...) the truth refers back to the setting of the world like a strictly fixed system, never trapped into a mere pretence, but finally the object can only be and appear in the whole sense of itself.”
(free translation: Maurice Merleau-Ponty, Phenomenology of Perception, de Gruyter & co., Berlin 1966)
Marcus Sendlinger (* 1967 in Königsstein/ Taunus, based in Berlin) presents his third solo show entitled „The Recurrence of Truth“ at the gallery Jette Rudolph Berlin. Works include his most recent small and large-sized images and a metal sculpture.
The linchpin of this exhibition will be the sculpture “T.B.O.T.” (The Base of Thoughts), awakening reminiscences of a folded object. Despite its materiality it is set on a thin triangular metal sheet, fixed by steel wires from the ground to the ceiling. The construction suggests a stage-like but virtual character, reminiscent of installations of the Modern and captures the metaphorical idea of “the stoppage of time”, similar to a movie-still.
Featuring the exhibition title „The Recurrence of Truth” Sendlinger hints at the approach of “the eternal recurrence of the same” by F. Nietzsche. Comparable to the philosopher Sendlinger discounts the thought of progress in the art and works consciously with references taken from art history, architecture and design. References to philosophy, especially phenomenology, can also be found in the image titles, e.g. “Auge und Geist”/ “Eye and Mind”- the object of the image is composed between the evidence and the truth, the extract and the event.
Corresponding to the image strategy of faceting in Sendlinger´s works, light refraction and reflexion is visualized. Further a series of figurative but seemingly surreal ink drawings show the process of transformation of a car frame into the sculpture, associating the morphing from material and shape through to a new generated object. Finally a geometrical shape canon prevails, its lines and planes, triangles and circles multi-layered — put one on the top of the other to evoke an alternating play between surface and space. By using successive staggering of the image planes Sendlinger operates with techniques of taping, laying and moving templates and perforated metal plates. The moiré-effect with its iridescent patterns and colours originates an additional dynamic.
The artist generates a concept of construction into his paintings and sculpture, a minimized geometrical syntax, a compressed self-generating and multi-layered system, motivated by references and codes, which are expressed by its autonomy and necessity being a medial reminiscence of language and its reflection of thoughts and ideas on the track into a new consciousness.