Sonderführung mit Gereon LepperAm letzten Tag der Ausstellung "Roaring Forties" stellt der Künstler Gereon Lepper sein künstlerisches Schaffen und seine Arbeitsweise vor. Infos und Reservierung unter: 0202 47898120 bzw. email@example.com
GEREON LEPPER - ROARING FORTIES
24th of June to 28th September 2014We suddenly hear the roar on our way down to the exhibition hall. And then suddenly everything goes silent. We see an object resembling some kind of vehicle with a pair of propellers one behind the other. Gereon Lepper calls this machine sculpture “Ortstreu” (staying in the same place) which is the cause of the regularly occurring acoustic inferno. During its resting phase the visitors attention is directed to the two other sculptures. On the right-hand side is the sculpture “Schwere See” (heavy sea) whose elongated glass container half-filled with liquid, rocks to and fro by means of a construction resembling a pendulum. Between these two works are two objects covered with rubber membranes one on the wall and the other on the floor, which are connected by means of a compressor and rubber hose – “Das Alter des Mondes” (the age of the moon).
Gereon Lepper has created a space in the exhibition hall in which each of the individual works speaks for itself and yet relates to the other two. Thus the two neon tubes which illuminate “Orsttreu” with their glaring white light complement the red fluid in the transparent container in the sculpture “Schwere See”. The movement of the air can still be felt on the other side of the hall thus giving the impression that it is what is causing the agitation in the liquid which surges, turns over on itself, rolls backwards with foam forming on the surface. The work “Das Alter des Mondes” is almost inactive by comparison. Air is gradually pumped out of the object on the floor while the surface of the object on the wall becomes convex, giving rise to the appearance of a lens-shaped body. The plastic phenomena are the result of changes in volume which reverse as soon as the compressor is switched off and the stretched membranes return to their original condition.
Gereon Lepper’s pieces of apparatus tell us about natural phenomena which we are already familiar with; the titles of the works “Das Alter des Mondes” and “Schwere See” point unequivocally to this. In addition the title of the exhibition “Roaring Forties” refers to a region between 40° and 50° latitude where gale-force winds ensure stormy weather and rough seas throughout the year.
Since the middle of the 80’s Lepper has succeeded in creating a powerful interplay between nature and technology. In is studio in Hattigen, formerly the Heinrichshütte, an industrial facility for smelting, Lepper has clearly achieved the symbolic relationship to colliery machinery, even though he has no intention of being nostalgic in any way. In reality he is much more interested in demonstrating the forces which shape our lives here on earth. By translating experimental designs which examine nature’s potential for plasticity he has thus developed a narrative and dramatic poetry. The surge and the flow of the red fluid have material qualities which remind us of Hokusai’s foaming waves. The expansion of the lens to its uttermost limits before it deflates again and the effect of the rotating propellers cancels out the idea of a stationary construction resembling a vehicle. Works like these can be interpreted as fundamental allegories for our lives and our behaviour. Gereon Lepper does without any form of opulence and does not cover up the machines or conceal the wiring or what is going on technically – everything is visible and perfectly organized.
The three works on exhibition at the Waldfrieden Sculpture Park represent a certain series of motifs which Lepper likes to use from time to time, alongside other motifs and themes which he deals with. For example in the case of the work “Der unwiderstehliche Zustand der Ruhe” (the irresistible condition of tranquillity) which cuts the horizon as a reflection in water through the room. In the “Lockruf der Berge” (call of the mountains) rocks and stones are crushed by a roller. In other works moving metal sheets are suspended on tall constructions; their movement being reminiscent of the wing beats of large birds. Among other things Lepper is currently working on the description of a great effort which keeps on failing time and time again – reminiscent of the myth of Sisyphus. Yet again it is all about finding allegories for our lives.
Author: Thomas Hirsch