Of our five senses,
sight stands at a strange and marked remove. Compared to touch, taste, sound
and smell, sight has a claim on the force of objectivity that has continuously
been reinforced throughout history. Of course, when this supposed objectivity
is held under any scrutiny, we find endless examples of its inconsistency and
deception. But these tend to be regarded as exceptions to the rule.
Both the man in the painting’s foreground and the diegetic painter in its background have their backs to the spectator. With some strain, the painter is turned toward the foreground figure, observing him in order to add the final touch to a canvas on which we see a representational rendition of his model also from the back! Although a straight line can be traced from the painter in the background to the figure in the foreground to the spectator, the two 180° over-turns undergone by the foreground figure, one away from the spectator he was facing and one away from the painter doing his portrait in the background, do not add up to 360° or cancel out, do not return him to his starting position: a labyrinthine circle.
„Eyes in the Back of Your Head“ bedeutet, alles zu wissen, was um einen herum geschieht und so die körperlich bedingte Einschränkung der eigenen Perspektive zu transzendieren. Für ihre erste institutionelle Einzelausstellung in Deutschland entwirft die südafrikanische Künstlerin Bianca Baldi im Kunstverein Harburger Bahnhof eine textile Rauminstallation, ein schwebendes Labyrinth, in dessen begehbaren Räumen Skulpturen und eine neue Videoarbeit präsentiert werden.