Andreas Zybach | repetition of things to come
KÖNIG GALERIE | Rosa-Luxemburg-Platz | 3.10.–15.11.2003
From October 3 to November 15, KÖNIG GALERIE will be presenting the first solo show by Andreas Zybach, born in 1975 in Olten, Switzerland.
The sculptures presented in “repetition of things to come” can be divided into two groups. In the first group, in each sculpture, two plastic objects are merged into one object, through a connecting piece. Underlying the form of the container, due to its industrial mode of production, is a vocabulary of basic geometric forms and a succession of standardizations, which determine the alignment, scale, amount and quantity of measured things. The material remaining from the creation process, consisting of negative forms and surplus raw material, is combined to reconstruct a Styrofoam block of standard dimensions.
Parts of the described objects create an accessible model of the metropolis “Everytown”, which both plays the main role in and reveals the filmic narration in the 1936 science fiction film “Things to Come”. The film, modeled after H.G. Wells, depicts various states of a society in relation to the prevailing condition of technical development. The last section of the film creates a vision of an underground city, consisting of white, artificially lit, windowless buildings, which thereby produce identical conditions for the entire population. Formally the result is a negative form of the design by Laszlo Moholy-Nagy, who was involved in the film production. His proposal envisioned a transparent architecture, built from translucent and perforated materials, that was echoed in the realized film only in translucent furniture and household fixtures. The second group of objects varies the construction forms of the artificial environment engineered under the earth’s surface. The regulating principle for the transition between the two different domains is revealed through various manifestations (such as buildings, elevators, airplanes, rockets, gas masks, injection molding machines and test tubes) as the universal motive of the film.
Yet another model, in the form of an automatic coffee machine, condenses the vessel to a system. Following Moholy-Nagy’s method, through which new results can be achieved through the reversal of logical production flow (as shown, for example, through his photograms), the automatic operation of the machine is enhanced to autonomous, permanent operation. Furthering this thought to the options available to the population in the film, the self-sufficient, automatic production of machines forestalls the possibility of interaction. Out of the continually running fluid, an ever-growing image is created, analogous to the expansion process, the actual vanishing point of the film.