Louisa Clement. Zwischenstände

In her first solo exhibition at the Konrad Fischer Gallery, Louisa Clement shows conceptual works, videos, objects and sculptures that deal with the uncertainty of the current state. The title Intermediate Stands marks the provisional nature of each form and constellation that Louisa Clement examines in her works. At the centre of the exhibition is a new, large-format sculpture dealing with the question of protection and the subjective perception of security and threat. Similar to a walk-in cocoon, the sculpture offers shelter and thus supposed security, but at the same time provides a feeling of isolation. The material is a semi-transparent membrane which, while obscuring the view, allows outlines to be seen. A clear demarcation, but not a complete isolation. It becomes clear that uncertainty arises primarily from a feeling and is less attributable to measurable criteria. This applies to both political and social life, both in the analogue and digital world. The videos from the Not lost in you series deal with this aspect, dealing with the authenticity of virtual experience. Hesitating, groping, one hand strokes over an artificially created body, the avatar. The close-fitting glove prevents direct contact, the immediate sensation and creates clear and cool distance despite all proximity and almost erotic interaction.

 

Conscious and unconscious communication is the focus of the series Mirrors, which reproduces the reflective surfaces of sunglasses and makes visual contact impossible, in which the gaze is not reciprocated, but merely reflected. It is a situation that produces ambiguity, and deliberately provokes it. The image in its function as an image is thus put up for discussion in a way that refers less to art history than to our everyday culture: How do we present ourselves, what do we carry to the outside world, which signals are sent and how are they recorded? The series Ladefehler deals with the visual surface of digital reality, which is only a photographic work in the broadest sense. These are screenshots of image and text search requests that are in an unfinished state when the digital device, in this case the iPhone, reaches the limits of its computing power. On the one hand, limits are imparted here, which are repeatedly encountered in the almost unlimited world of data, small mistakes that disturb the illusion of perfection. On the other hand, the charging errors address the aestheticization of digital everyday life, which quickly becomes a collective community and produces images that everyone knows and can interpret – at least until the next update creates a new user interface and shapes another aesthetic experience.

Louisa Clement, still not lost in you I Louisa Clement, 2016

Louisa Clement, not lost in you 4 stil, 2017

Louisa Clement, Ansicht Flashes Rundgang, 2015

Louisa Clement. Zwischenstände

In her first solo exhibition at the Konrad Fischer Gallery, Louisa Clement shows conceptual works, videos, objects and sculptures that deal with the uncertainty of the current state. The title Intermediate Stands marks the provisional nature of each form and constellation that Louisa Clement examines in her works. At the centre of the exhibition is a new, large-format sculpture dealing with the question of protection and the subjective perception of security and threat. Similar to a walk-in cocoon, the sculpture offers shelter and thus supposed security, but at the same time provides a feeling of isolation. The material is a semi-transparent membrane which, while obscuring the view, allows outlines to be seen. A clear demarcation, but not a complete isolation. It becomes clear that uncertainty arises primarily from a feeling and is less attributable to measurable criteria. This applies to both political and social life, both in the analogue and digital world. The videos from the Not lost in you series deal with this aspect, dealing with the authenticity of virtual experience. Hesitating, groping, one hand strokes over an artificially created body, the avatar. The close-fitting glove prevents direct contact, the immediate sensation and creates clear and cool distance despite all proximity and almost erotic interaction.

 

Conscious and unconscious communication is the focus of the series Mirrors, which reproduces the reflective surfaces of sunglasses and makes visual contact impossible, in which the gaze is not reciprocated, but merely reflected. It is a situation that produces ambiguity, and deliberately provokes it. The image in its function as an image is thus put up for discussion in a way that refers less to art history than to our everyday culture: How do we present ourselves, what do we carry to the outside world, which signals are sent and how are they recorded? The series Ladefehler deals with the visual surface of digital reality, which is only a photographic work in the broadest sense. These are screenshots of image and text search requests that are in an unfinished state when the digital device, in this case the iPhone, reaches the limits of its computing power. On the one hand, limits are imparted here, which are repeatedly encountered in the almost unlimited world of data, small mistakes that disturb the illusion of perfection. On the other hand, the charging errors address the aestheticization of digital everyday life, which quickly becomes a collective community and produces images that everyone knows and can interpret – at least until the next update creates a new user interface and shapes another aesthetic experience.