19.3.-10.5.08

The actual exhibition brings two artistic positions together, which do not seem to have much in common at first sight. On one hand are the works of the mainly textile sculptural Englishman Craig Fisher, on the other hand the subtle, small-sized photographies of the German Adrian Koerfer. Also the two different titles let one come to the conclusion, it would involve two single projects isolated from each other. This is true; but more and more points of contract appear in the works; yes, sometimes the works act as a key to understand the others.

Craig Fisher has grown up in a textile family and chose special textiles used in the sport domain for the material implementation of his works. The meticulously manufactured objects, yet mostly loving spangled or with button applications, coquets with the aesthetic of comic or cartoons. Only at second sight they turn out to be very angry implementations of crime, violence, murder and manslaughter. Craig Fisher developed all sculptural Objects from simple drafts, which in the course of elaboration become themselves autonomous drawings. The blatant British sarcastic humour is common in all works, as well as the partly totally absurd work constellations. The blood splashes shimmer hyper aesthetically, the stout pistols and knives; absolutely unable for the deed, seem nearly ridiculous. The barf stain with his shimmering sequin surface mutates from distasteful statement of facts to a wonderful wall and floor object and suddenly radiates glamour. Craig Fishers works cannot be classified in a common pattern of art. They always fathom die borderline of design, pop culture and comic and mix die different genres to an autonomous entirety, to a self-referential entirety, an absurd ominum-gatherum of short stories of our time.

Exactly at this point contentual pitch points can be found with Adrian Koerfers photographies. Unpretentiously he gathers visual objects trouves from his everyday life to a panopticon of his immediate environment. Mostly the artist blurs the border between micro- and macrocosms und lets one plunge into a diffuse gap, an alleged new world. However the celebration of partly absurd snapshots clearly shows, how very distant the pictures are from pure snapshots. It is about a super elevation of the constant ‹now›, at which the enigmatic composition dissolves into trivia or they form themselves to a new cosmos. The irrelevant receives a special place from Adrian Koerfer, the alleged relevant, as the different self-portraits, become dissolved and put, in the true sense of the word, into a new, also bias light. The series carries the title ‹Tattoos›, perhaps because unknown stories are written into the pictures. Alike a tattoo the artist cut the single frames on the series ground, on the basis of life. The pictures become fix points of the own self and with it to a kind of visual diary entries.

Bernhard Bischoff, March 2008