Dialogue 5: See U Th3re Elisabeth Moch & Sara Malie
January 29 — February 28, 2021
Showcases Sara Malie and Elisabeth Moch
Schrödinger's cat, a steel crossword puzzle and a steel dust print, woven fabric made of plant fragments, a knitted scarf, and a bouquet of flowers as a reverse glass fibre painting may at first have little in common. In Dialogue 5 of the series "See U Th3re - Dialogues between Windows" by Sara Malie and Elisabeth Moch, however, these different social, cultural, and epistemic codes intertwine and attempt to bring a certain order to these symbols of simultaneously connected and paradoxical structures. Presence and absence, everyday experiences, networks and techniques determine the installations in the showcases at the HFBK and the KVHBF, which are themselves simultaneously specific and paradoxical.
Elisabeth Moch incorporates various materials into her fabrics, including dried nettles, which are said to have mythical and healing powers. This kind of (traditionally female) knowledge combines with another kind of knowledge in the weaving technique: The processes of warp and weft and the binary punch card logic of 0 and 1 of the loom, create a fabric which surpasses purely material qualities.
Means and motifs of industrialisation play a role in Malie's work as well. This is referred to in her steel dust print, the archetypical material of which is presented here as a fragile trace. At the same time, the imprint refers to the KVHBF showcases, which exhibits the sculptural work. A steel crossword puzzle draws a relation to the so-called hypothetical experiment "Schrödinger's cat". It illustrates a quantum mechanical paradox of atomic compositions which depend on the moment of observation, i.e. what is "seen" by the observer does not actually exist. Similarly, in crossword puzzles, the previously known and seen answers and the free spaces of possible solutions are paradoxically dependent on one another: what is already seen/known enables the recognition of later solutions, but can equally prevent or restrict further answers. This serves as an illustration of how a faulty foundation can never really manage the randomness, chaos and contradictions of reality.
Whilst both solutions remain absent in Sara Malie`s work, a notion of expectations arises. Elisabeth Moch also plays with these expectations and uses different techniques and materials to create a rustic parlour, alluding to both a waiting room and a shop window: carved woodwork, an unfinished knitted piece, a reverse glass fibre painting and a chain of lights combine to create a setting between traditionalism and modern technology. The glass fibre material, which is used industrially for shipbuilding and aircraft construction, space travel and digitalisation, emanates the connotation of technology and masculinity and represents a basic building block of modern networking. In Moch's artistic work this material is met with playful, feminine notions reminiscent of decoration, domesticity and care, and self-woven, archaic-looking fabrics.
Through their medial and conceptual contrasts, the reciprocal conditions and simultaneous non-simultaneities, the form and meaning of showcases in themselves are questioned. Sara Malie and Elisabeth Moch question the gaze as a motif, and in such, the occasional contradiction between representation and observation. With this moment of viewing and the separation through glass, the showcases create a paradoxical spatial situation: the superimposition of two states can represent a possible state - as in the thought experiment of Schrödinger's cat. Likewise, such a moment paradox occurs in the showcase, which transcends to become both a farmhouse parlour and a waiting room.
In five dialogical exhibitions since October 2020, two out of a total of ten artistic positions not only meet but also meet the respective characteristics of the exhibition locations. At the beginning there was an open call, which asked to question, challenge and rethink the showcases and the inscribed logic of representation and visibility in terms of feminism, care and friendship.
Sara Malie (*1992) lives and works in Hamburg and on the danish island of Fyn. Believing in the political potential of science fiction, Sara’s sculptures and installations often take shape of dystopic landscapes or instruments. By mimicking systems or chains of events, her pieces play with a conspiratorial anticipation, encouraging the viewer to try to abandon their integrated system of common and cultural logic.
Elisabeth Moch's (*1991, lives and works in Hamburg) work plays with the (contradictory and simultaneously complementary) role of folkloristic artwork and domesticity within a digital, networked and hyper-cultural world. Smoothness and chaos, mechanic and handcrafted/artisinal production, the visionary and the nostaligic, and the relation between the individual and society. She materialises these dualities in her installations and picture objects. Through her work with various craft techniques and genres including weaving, wood carving, and a self-developed method of reverse glass-painting, the artist creates sculptural and pictural objects and thus stages interior spaces of a both rural and sacred nature.