Unsteady State

• 10.11.-09.12.2018 •

Franca Scholz

And then she came. And I had a feeling it would come this way. But when I was sitting in the kitchen watching her cleaning the dishes, I was speechless. I couldn’t find the word and even less the right feelings for it. The implicitness with which she went with the sponge over the surfaces of the kitchen amazed me and scared me at the same time. I wanted to day stop! You’re destroying the landscapes of my living scenery, don’t change the climate! This making this place to my own, was not hard work, but required a precise observation and thus dedication. And on the other hand I just wanted to observe how movements look that make you feel more home. And be lulled by it. Movements that you do everywhere, the order how you clean the glasses first, then the plates and at the end the cutlery and the most oily stuff. And after that how you started to put the stuff lying around in the shelves to have clean surfaces and then you take the sponge and in rhythmic movements you get rid of small crumbles. To put things in order. To have a better overview. I knew it would come this way but it still struck me.

Video | Screen | Badezimmer

Female monsters take things as personally as they are. They study facts.

Franca Scholz
Video | Projektion | Zmmer
Video | Projektion | Zimmer | Kleidung
Video | Projektion | Film | Decke
Vitrine | Stoff | Schrift | Installation
Vitrine | Stoff | Schrift | gewebt
Vitrine | Stoff | Schrift | Hängen
Ausstellung | Stoff | Schrift | gewebt

One month in Palermo, October, in the year of Manifesta XII and of Italian Capital of Culture, Franca Scholz spent it on the threshold, on the crest of places, bouncing in the frenzy of the city, between exhibitions and events and the unavoidable apathy of the day after. Invited by the Verein Düsseldorf Palermo e. V. and the Kulturamt of the city of Düsseldorf, the German artist lived the city in its alleged most expressive moment, shortly before the curtain came down. In the works produced during the residency in Palermo, the artist focus her attention on what lies behind the curtain, when the exterior begins to thin out and the inside is revealed by the elements that compose it. The interieur is the basis of Scholz’s poetics, both the physical one, the interior of the apartment where she lived for a month, and the one related to the private sphere of feelings.  The two spheres overlap and exchange roles each other, such as in the video Unsteady State where the camera’s eye lingers on the elements that bear the traces of the artist’s presence. The bathroom shelves, the kitchen table, the bed, everything is unmade and left in disorder. As the images flow the artist’s thoughts flow with them, they overlap in intimate texts, unconnected with each other. Fragments of streams of consciousness that in turn approach and differentiate in the size of the font, sometimes so small that it cannot be read. They seem monologues whispered in the silence of an empty house, as if the traces left in the house keep the memory of scattered thoughts made in the presence of the recorded objects. Other fragments of thought return in the series of textiles It’s for the soft baby butts, presented as banners. Here the thoughts are shorter, similar to intimate slogans, personal mottos, such as quick notes collected during the day. They seem phrases that echo in the head of those who formulate them, endlessly repeated in search of a meaning, or of a secret code, that reveals an arcane meaning. In reality the meaning seems to lie with the importance of the banal, in those quick thoughts destined to get lost in the daily frenzy.

Text by Alessandro Pinto

Ausstellung | Badezimmer | Flyer

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