I am Kapitalismus gibt’s keinen Platz for Happy End

Von Lars Fleischmann

A mesmerizing atmosphere in the half-dunken night, illuminated by the artistic light of the city; An electrical power pollutant serves neither a shiny Tobacco and Cigarette residue as the previous last Ruhestätte, in the background a cleaning machine parks behind the scenes. With dem Szenario, the Israeli Kunstlerin Alona Rodeh Besucher*innen in the Ausstellung “Interzone” in the Gelsenkirchener Kunstmuseum in the Foyer of the postmodern Achtzigerjahrebaus ab. Three and a few urban, fun still lifes on two high-sided statues in the large, medium-sized males.

Still his natural cousins: Rodeh, born in Moscow in 1979, Ben Ami born in Berlin, but he can spend a few years with an average average time, often as a high-quality 3D animation. Anyone who has the video “Pollards as Astrays”, in the electric bollard that finds regularity on and under the ground, is also a schmauchenden Ladung. The cleaning fahrzeug shows itself in the image and vermutlich spring gleich Putzkräfte raus, a Müll der (Abend-)Gesellschaft zu verräumen.

Entvölkerte Welten

If not, the digital representative of Rodehs Welten entvölkert since – stets man nur überreste dessen, was Menschen bauen, nutzen, consume: In de eight Werken der Schau, die voor allem op Displayen en als playbares Videogame zu sehen sind, tauchen Straßen auf, Technik und Dreck are about the Bürde der nicht abklingenden Akkumulation von Money and Commodities. Wo Menschen fehlen, treten bei Rodeh Maschinen and ihre Stelle. It is clear that the Künstler sympathizes with his son’s incredible E-Roller. These are just a few of the key players. In “Runway Freefall” a roller duo lost a duet in the calm of the HDR filters on Hawaiiguitarren-Swing a film by US-Underground director Jack Smith. So let the Roller on the Zufahrtsstraßen be an Industriegebäudes who makes a few demands on the Freestyle – his Hunderte Roller plötzlich fallen from Himmel and everything demolishes. If it goes fast, then it’s Kapitalismus-keinen Platz for a Happy End money, not even so, if the Mensch turns it off.

In “The Juicer” everything hinges on the name of the Transporter, which loads the E-Roller on the Akkus at night, but those tags can be stolen on the road. Here an electric pump of the Roller is stimulated. Dass Rodehs Kunst is not nur aus solchen, als kurze Clips wahrnehmbaren Videos besteht, beweist sie in die ersten grote flächigen Einzelausstellung in Deutschland. The architectural architecture of the Gelsenkirchen Museum Buildings was created with a special knowledge: Architect Albrecht Egon Wittig planned the Australian state area in the 1980s with many Ebenen and Plateaus, which were connected by Fenster, Treppen or Balkone. For the presentation of video work, these walk-through and lighting situations have been resolved during the problem. But Rodeh, who as a theater performance for the theater equipment and a gefühl for the entry of Räumen-mitbringt, cash with kürbisfarbenen-foilen, which nehmen the Räumen jegliche Natürlichkeit – was the bizarre flair and the high artificial Anklang ihrer Arbeiten unperturbed.

Burroughs Interzone

View photos of wiedererkennungswert, were then aber ins Absurde brochen and hinterlassen Befremden. We read the title of the book: Man cannot think about the “Interzone”, but read William S. Burroughs’s novel “Naked Lunch”. The Buch leaves a vision for the next drying trip and will help you. In this “Zwischenzone” real experiences and herbal fantasy can take on their own character on the machines. The machine Welt sees more, even when its male protagonists play a role and are regungslos. If Burroughs does not find the human in the “interzonne” of the modern world, then with Alona Rodeh it is also the machine and the product. This is clear: it is all a matter of pleasure – for example, a motor or a herz of ours.

“Interzone”. Art Museum Gelsenkirchen, bis February 9, 2025