Exhibiting in the showcases of the Kunstverein, Florian Deeg and Jáno Möckel deal with the forgetting of places, objects and human encounters. In doing so, they question the dual character of showcases, on the one hand as a form of museal presentation for art and on the other hand as an advertising format for consumer goods. In their multimedia installation, Deeg and Möckel combine the process of preserving memories with the aesthetics of decay. For this purpose, they appropriate objects and sceneries from everyday life. The recognizable objects and spaces are staged surreally by alienating the material or through unusual perspectives. Behind the glass panes of the showcases, they seem strangely removed from day-to-day life.
In his work,
Florian Deeg deals with the possibilities and transitions of analog and digital
models. In a spatial installation whose aesthetics move between shop window,
office space and private interior, Deeg shows the website "leute-in-deutschland.de" he developed.
It's called up on an old, nicotine-yellowed computer with clear
signs of use. All the names listed in the German telephone directory in the
fall of 2016 appear once for one single time on the page. The random appearance
of people, represented exclusively by their names here, establishes an analogy
to what happens in the train station. The meeting of people and their
simultaneous "appearance" are arbitrary, both on the screen and in
real life on site.
In another showcase, Deeg displays the work "Was die Ohren sehen". Two screens show synchronously running videos dedicated to the immediate surroundings of the station and everyday routes outside the usual field of vision. With the help of a self-built camera construction, Deeg creates recordings that challenge the viewer's sense of orientation.
works reflect the shortcomings of everyday life in a socio-economic context. In the showcases he displays the work "Pawnbroker's", in which he stages the shop window of a pawnshop. The objects advertised
in such stores are not new goods, rather valuable commodities. They are only
displayed in the shop window when a loan cannot be repaid and the pawned object
is not sold at the subsequent auction. Behind the goods for sale lie personal
stories and human predicaments. The question of value production or, in turn
loss of value of such goods, are recurring themes in Möckel's work. In the
exhibition he confronts the peculiar aesthetic of pawnshop windows somewhere
between a jeweller and second-hand store with a diorama of gray flocked
objects. Typically used to finish surfaces, flocking is used in jewellery boxes
for display and storage. From a distance, however, the diorama appears
artificially dusty. The alienated goods testify to neglect and loss of value,
as well as refinement and value production.
A wooden construction is often installed on shop windows when a store with damaged glass windows is to be protected from theft or to provide a visual screen during reconstruction work. In Möckel's installation "Munthofstraat", however, the view inside is made possible through a peephole. Both the installation and the video work address the presentation and irritation of advertising content.
In the showcases, the works by Deeg and Möckel enter into a dialogue. Both implement, mirror and re-contextualize each others’ artistic materials and architectural elements. The concrete examination of the themes of decay and nostalgia becomes even more present in the pandemic. This becomes obvious when looking into the deserted showcases.