Horton Gallery, Berlin is pleased to announce Boundary Issues, a group exhibition featuring recent work by the following Berlin based artists: Ketuta Alexi-Meskhisvili, Nathan Baker, Carrick Bell, Clara Brormann, Nelli David, Antonia Low, and Matteo Rovesciato.

The exhibition’s title is taken from a poem of the same name by the contemporary American poet John Ashbery. It concludes:

“…Banish truth-telling.
That’s the whole point, as I understand it.
Each new investigation rebuilds the urgency,
like a sand rampart. And further reflection undermines it,
causing its eventual collapse. We could see all that
from a distance, as on a curving abacus, in urgency mode
from day one, but by then dispatches hardly mattered.
It was camaraderie, or something like it, that did,
poring over us like we were papyri, hoping to find one
correct attitude sketched on the gaslit air, night’s friendly takeover.”


Hmm. Though the poem suggests a variety of boundary issues (geographical, political, historical), it seems rather likely that the boundary issue that Ashbery is ultimately most concerned with here is between his creative process and its restrictions or restraints – and thus the desire to ‘banish truth-telling’ in order to maybe ‘find one / correct attitude sketched on the gaslit air’.

With perhaps an Ashberian regard of boundaries, of definitions, the artists gathered in Boundary Issues appear to be working in the aftermath of where a similar banishment occurred, and where ‘camaraderie, or something like it, ‘ matters most.

***

Boundary Issues

By John Ashbery

Here in life, they would understand.
How could it be otherwise? We had groped too,
unwise, till the margin began to give way,
at which point all was sullen, or lost, or both.

Now it was time, and there was nothing for it.

We had a good meal, I and my friend,
slurping from the milk pail, grabbing a newer vegetables.
Yet life was a desert. Come home, in good faith.
You can still decide to. But it wanted warmth.
Otherwise ruse and subtlety would become impossible
in the few years or hours left to us. “Yes, but…”
The iconic beggars shuffled off too. I told you,
once a breach emerges it will become a chasm
before anyone’s had a chance to waver. A dispute
on the far side of town erupts into a war
in no time at all, and ends as abruptly. The tendency to heal
sweeps all before it, into the arroyo, the mine shaft,
into what pocket you were contemplating. And the truly lost
make up for it. It’s always us that has to pay.

I have a suggestion to make: draw the sting out
as probingly as you please. Plaster the windows over
with wood pulp against the noon gloom proposing its enigmas,
its elixirs. Banish truth-telling.
That’s the whole point, as I understand it.
Each new investigation rebuilds the urgency,
like a sand rampart. And further reflection undermines it,
causing its eventual collapse. We could see all that
from a distance, as on a curving abacus, in urgency mode
from day one, but by then dispatches hardly mattered.
It was camaraderie, or something like it, that did,
poring over us like we were papyri, hoping to find one
correct attitude sketched on the gaslit air, night’s friendly takeover.

--

Die galerie kündigt stolz die neue Gruppenausstellung Boundary Issues, eine kuratierte Gruppenausstellung mit neuen Arbeiten von den in Berlin schaffenden KünstlernKetuta Alexi-Meskhishvili, Nathan Baker, Carrick Bell, Clara Brormann, Nelli David, Antonia Low und Matteo Rovesciatoan.

Der Titel der Ausstellung ist aus einem namensgleichen Gedicht des zeitgenössischen amerikanischen Dichters John Ashbery entnommen.

Das Gedicht endet:

“…Banish truth-telling.
That’s the whole point, as I understand it.
Each new investigation rebuilds the urgency,
like a sand rampart. And further reflection undermines it,
causing its eventual collapse. We could see all that
from a distance, as on a curving abacus, in urgency mode
from day one, but by then dispatches hardly mattered.
It was camaraderie, or something like it, that did,
poring over us like we were papyri, hoping to find one
correct attitude sketched on the gaslit air, night’s friendly takeover.”


Hmm. Obwohl das Gedicht auf eine Vielzahl von Abgrenzungen (geographisch, politisch, historisch) eingeht, beschäftigt Ashbery letztlich wahrscheinlich am meisten die Abgrenzungsprobleme zwischen seinem kreativen Prozess und dessen Beschränkungen oder Einschränkungen – und damit dem Wunsch „to banish truth-telling“, um dadurch vielleicht „one / correct attitude sketched on the gaslit air“ zu finden.

Mit einer möglicherweise Ashbery'scher Sichtweise im Bezug auf Abgrenzungen und Definitionen, scheinen die in Boundary Issues versammelten Künstler in den Nachwirkungen ähnlicher Begrenzungen zu arbeiten, wo „camaraderie, or something like it“ am Wichtigsten ist.

Installation View: Boundary Issues, Horton Gallery, Berlin

Installation View: Boundary Issues, Horton Gallery, Berlin

Installation View: Boundary Issues, Horton Gallery, Berlin

Installation View: Boundary Issues, Horton Gallery, Berlin

Installation View: Boundary Issues, Horton Gallery, Berlin

Installation View: Boundary Issues, Horton Gallery, Berlin


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