26 OCTOBER – 20 DECEMBER 2019
ST. AGNES | CHAPEL
The work’s protractedness, emphasis or undermining of material qualities and distribution of agency are key characteristics of Michael Sailstorfer’s practice more generally. Over the last twenty years, they have been fundamental to his explorations of the potential of sculpture as a medium, in ever-new quests for playfully serious ambivalence. His solo show at KÖNIG GALERIE takes its title from the salt-stone sink described above. Representing an interim status of a long, ongoing process, Sink, Sank, Sunk also emphasises the semantics of finitude, which seems of worrying relevance at the moment.
For all its environmental references, the visual vocabulary of this exhibition resists simplistic patterns of explanation. The works on show blur any clear distinctions by offering a true reflection of the inseparable interactions of various actors. Above the reception area hang eight dark bronze casts the shape and size of lightbulbs. The unique materiality and surface of Batterie-Feld (2019), however, stem from the different practices and practitioners interrelate. They were created by placing wax moulds of lightbulbs in suitably scaled hives and leaving honey-bees to work on them until their industrial appearance had been totally covered with island-shaped honeycombs. Their forms were then cast in bronze and sandblasted. The resulting hybrid objects constantly oscillate between technical and animal production, their material qualities become interchangeable.
Where the focus is on the natural world, nature is quite obviously attached to artistic practice and consequently has connotations of being culturally permeated. Two sparsely hung, detailed plant sketches — Distel and Brennnessel (2019) — initially seem call to mind the aesthetics of early modern nature observation and ideals of the beauty of nature. But their substrate emphasises their artificiality: the industrially-produced sandpaper on which they were rendered resisted the movements of the stylus, turning the friction between the materials into an expression of the special capabilities of these plant species, which sting when touched. The strokes of the drawings capture a multi-faceted moment of conflict: their endangered materiality is exposed to obliteration and refers not only to the limits of human appropriation of nature but also to its potentially destructive effects.
© Images Roman März