After we have already shown a selection of their works in a group exhibition curated by Ludwig Seifarth 2009, we now present the first solo exhibition of the artists Rapedius/Rindfleisch in our gallery.
If visitors trust their imagination and their ability to associate, they can wander amongst the trees of a dense forest, admire the delicate structure of shelf fungi and look absent-mindedly into the misty vastness of an endless mountain range just like Caspar David Friedrich's "Wanderer above the sea of fog"- and yet it is only an arrangement of paper cups, photocopies and folded paper in a room.
Although Martina Rapedius and Thomas Rindfleisch mostly work with materials of modern industrial society, they discuss a subject, that has a long tradition in the history of art: the landscape, or rather the portrayal of nature.
For the "creation" of their make-believe natural phenomena they use soulless mass products that are only slightly modified, mostly just strung, piled or folded. At the same time the palette is reduced to black and white, in order to put the focus on the materials and their structures.
With a certain scientific curiosity the materials get tested for their potential. Paper is folded and unfolded again… Its lightness is reflected in the sea of fog, its firmness in the tree sponges.
Or is there a slightly romantic longing for a harmony between nature and civilisation concealed in all of this? As the naturally grown is replaced by accumulated standardized industrial products, there also seems to be a certain melancholy and critique of civilization in their work. However, at the same time the materials get poeticized while playfully using them in a structural analogy to natural objects.
Rapedius/Rindfleisch's way of working with paper seems like a reduced form of traditional Japanese origami, filtered through the development of 20th century western art movements like minimalism and constructivism. All of the works are easy to move and can be adjusted to other locations and spaces. Many of the objects can be folded again and are therefore mobile, light, almost elusive.
The process of development from the first ideas, the choice of material to the string of single elements and their processing, up to the arrangement and their confrontation is crucial for the comprehension of the artists' work.
The formal sequences of the raw material correspond to contextual associative chains. These associations can be based on formal or contextual aspects, they can be very obvious or very surprising. Rapedius/Rindfleisch's works seem to develop like nature evolves in adjustment, selection and mutation. The world is newly constructed through recombination and selection and in this way - speaking with Roland Barthes' definition of simulacrum - becomes visible.
Rapedius/Rindfleisch invite the beholder to explore their minimalistic natural space in the gallery.