Containing the Possible
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Within a fairly innocuous framework – artworks that have a 'sense of their own duration' – this group exhibition of eight artists features a handful of punchy pieces. Less concerned with temporality and more with documentation, the majority of these present an artistic action that has been captured via photograph or film.
Most interesting is Polish artist Konrad Smolenski's film in which he positioned his camera level with a railway line. On the other side of the tracks a wooden sign reading 'smierc' (death) is seen burning as firecrackers spark across its surface – an effigy of sorts. A train screams past and one is confronted with very immediate thoughts of suicide.
Addressing similarly visceral matters, Stefan Burger's unusual series of photographs are based on a scientific experiment where patients feel phantom pains for prosthetic limbs. A mix of medical-style shots and blurred polaroids of rubber hands, Burger's work disturbs the authority associated with such tests.
Most elegant in their execution are Graham Gussin's black and white shots of an emergency silver survival blanket billowing in the wind. In a similar vein, Joerg Obergfell photographs plastic bags as they momentarily snag on a stick, inflating to look like flags. Within this grouping however, there is the sense that these stronger works were originally meant to be seen as part of larger series – or simply need more space to breathe.