19.09.2020 - 01.11.2020

Yeşim Akdeniz's We can not talk about it as well as two works from her A Modern Misericord Series are on display at Kunstverein Bremerhaven.

Many artistic questions, motifs and aspects crop up again and again in art as with individual artists. Sometimes this is intentional, even directly aimed for, sometimes also unintentional, subliminal, like a pattern or handwriting. The characteristics in the works, actions and exhibitions of the artist duo FORT include aspects such as twin motifs or spaces, blurred transitional situations or floating equivalences.

'Invitation to Love' is the first exhibition project in which FORT acts as a curatorial team and brings together a subjective selection of works from friends and well-known artists. The title of the exhibition alludes to a television series of the same name. A soap opera, which in turn ran within the American television series Twin Peaks by David Lynch, which achieved cult status in the early 1990s. A show within a show, in which, according to the artists' preferences, twins play a leading role.

'Invitation to Love', however, is not just a declaration of love to David Lynch and his series, but also as a respectful, loving invitation to the participating artists for a joint exhibition project. The selected works are obviously, felt or figuratively concerned with love, illusion, togetherness or the subtle relationship of things. But the works themselves also relate to one another and invite the viewer to make connections and decipher possible meanings. Sebastian Jefford's Buried Earth Motors, oversized keys that open doors and gates, may help; whether about an inner life, a stranger or the painting by Christoph Blawert, who is represented with some small-format pictures, including a keyhole. In Yesim Akdeniz's painting, chairs enter into a strange relationship with one another and, like unfamiliar substitutes, depict a surreal psychogram. Also in Anna Jandt's installation True False and Random (Riddled with Advocaat) empty chairs are placeholders, but this time for a speed-dating situation in which the illusion of solvability of emotional components is spread over three tables like a riddle. There are two roses on each table, one real, one fake and still deceptively identical to the twins in Lynch's soap opera. Duplication and relationships make their rounds through the exhibition and yet are never repetitions or the same. Links are established and yet the works stand for themselves.

Curator | FORT