Cerith Wyn Evans
curated by Sabine Schaschl
Cerith Wyn Evans (born in 1958 in Llanelli, Wales, lives and works near London) began his career as an artist in the 1980s with music videos and experimental short films. Today, he is not only known as a filmmaker, but also as a conceptual artist. Texts, mirrors, plants, film projections, photographs, neon objects, neon lettering and various other light sources are often used in his formally reduced installations. Light, language, time and the recipients’ perception thereof are central themes in his oeuvre, which contains a multitude of references to literature, philosophy, music, film, theater and works by other visual artists.
For the entrance hall at Museum Haus Konstruktiv, Evans has conceived an installation with fluorescent tubes that hang down from the ceiling and have a delicate form derived from the precise formalized movements of traditional Japanese Noh theater. It features a concentration of complex lines that echo the transitions of various theatrical sequences of movements and ways of walking. Alongside this, a large-format sound sculpture can be experienced, consisting of 19 glass flutes in a radial arrangement, into which air is blown via transparent tubes. The sound that this generates is modulated by means of different intervals, volumes, high pitches, low pitches and densities, so the listening experience in the space constantly changes.
The newly produced site-specific work “Still life (In course of arrangement …) 0” is exhibited on the second floor: two kentia palms slowly rotate on record turntables, while an ensemble of fern, ginger and banana plants hanging from the ceiling brings to mind the floating works on the first floor. Sound penetrates the space and two spotlights provide an atmospheric presentation of the constructed setting. With these palms, Wyn Evans harks back to the artist Marcel Broodthaers (1924–1976), who used the exotic plants as a reference to the colonial history of his home country, Belgium.
Exhibition trailer >>>