But, possibly, for “artistic” or “alternative” or something from all three. Eva Rucki, Conny Freyer and Sébastien Noel, a German-French collective that has been working as a troika in London since the early two thousand years, creates a kind of Vexierbild in a few minutes of short loop: this being that shakes the long hair in Sufi groups moved, turns and apparently shakes his shoulders, coincides, as if it is mourning or gathering new, the organic turns of the hip shows and seems to dance with wind and trees – it is not a being. At least not in the conventional sense. To put it very brutally, this thing, which is equipped with hair, is a robot arm that is used in industry. Only here, in the new work “Buenavista” he seems to look at the landscape and to respond dancing. And we, viewer of the whole, trust him. In a predecessor from 2020, “Terminal Beach” had liked a similar “being” the supposedly last tree. Now it seems to be the “beautiful view”, “Buenavista”, possibly even to enjoy. Playing with the eye and wore, the landscape, composed of the Salz crusts of the Uyuni lake at the beginning, from dream beaches and alpine panoramas, which are so rasped that you do not know where that could actually be. But you are nowhere as a viewer and viewer. Only in the Schirn Kunsthalle, where the tons of sprinkled salt, ruffled into dunes, turn the floor into a glidering white desert. The salt refers back to the Bolivian lake, to the yield of lithium, which destroys nature there, in order to deliver the indispensable raw material, in the robotic arm, in cameras, in our smartphones and only be alienated at the same time and at the same time to enable familiar views that are now presented to us. The four perfectionist installations in the Schirn always ask the question of the human and mechanical look and their overlaps. The pixeled paintings “Irma Watched Over By Machines” (2021), the camera shots of the hurricane Irma humanly work on, the thistles of the “Anima Atman” (2024), which appear to be alive, but actually machine -driven, trick the perception on the one hand and are based on our all image production and Picture consumption. Performance weekend to the final of the stripes in red, green, blue, which in turn are typical of the color filters of the digital camera, are driven together from sunlight into the shirn to the ground, salting devices, walls, and after the exhibition on Hans Haacke, the plants, which has thrown there, the sunlight is still indispensable, an opening of the “white cube” another time. The gallery room: The large panoramic window to the city remains free and is part of the show. A memory of the fact that there is still a real one in front of the discs in addition to digital reality. And also because it will be quick with the expansion of art from the Schirn. Also in the large gallery, you can see it from Römerberg, the window cladding is already dismantled, the room divisors are dismantled. With a large performance weekend from March 28th to 30th, which plays this space, the shirn will end the company there. On April 30, a party with dance, then the salt is swept together, and the Schirn moves to Bockenheim to Dondorf’s printing company.Troika, Buenavista, Schirn Kunsthalle Frankfurt, until April 21.
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