Entitled Dark Side, the exhibition brings together the video projection The Dark Side of the Moon (2015), which is based on a 1973 photograph of the members of Pink Floyd, and a series of blind drawings carried out by the actors who appear in the video. The special edition Moon (2016) makes reference to the psychedelic rock band and completes the ensemble
We see an object that is reminiscent of a car tyre. However, there is something different about this plaster form. It is a feeling like the one we have when we look at the inside of a mask: we see the imprint of a three-dimensional form. For his work Semperit, Christoph Eisenring has made a cast of the inside of a car tyre, as the title plainly indicates. However, the object shifts ambiguously: it is three-dimensional, but nonetheless presents itself to the eye as a hollow space. This produces an optical oscillation that prevents viewers from achieving a feeling of complete certainty. There is a perceptual back and forth that is no less subtle than it is forceful.
The interplay between inside and outside and the moment of visual reversal are characteristic of Christoph Eisenring’s works. They draw their viewers in almost without their becoming aware of it. ÜBER GEGENÜBER (REGARDING REGARDING) is the title of his exhibition at the Galerie Gisèle Linder. The viewer is regarded by the work, but the work is also regarded by the viewer. An interaction is thus also be identified here. Up close the image or object reveals that it is constituted differently. A ribbon becomes a mirror; a seemingly tangible relief reveals itself to be a photograph. The appearances of things are deceptive, and Christoph Eisenring’s art explores this ambivalence. In order to present itself, it usually makes use of precisely those everyday things whose form seems as self-evident to us as that of our own hand. However, the unknown lies precisely in the self-evident. “Anything becomes interesting if you look at it long enough”, said Gustave Flaubert.
The form of a plate delicately floats on a white ground. The shadows of the edges and the nuanced tones of grey indicate that we are looking at its underside. For a moment the photograph appears so three-dimensional that our eyes feel their way along a fine relief. An aesthetic of the almost invisible is the distinguishing characteristic of Christoph Eisenring’s photographic works. The object stands within the empty space surround it, and this space is just as essential to the work as the motif. Christoph Eisenring has said that the empty surfaces are a fundamental part of his works and that, together with the frame, they form an immutable unity. The unity of motif and background is essential to his work, and it is only this which forms it into a whole.
This also applies to Christoph Eisenring’s wall pieces, such as the large cut-paper work Einteiler (One-piece). He has used a scalpel to cut the deep black paper into the form of a spiral. This is invested with its presence both through the background that it stands on and its form. Here, as well, appearances are ambivalent: what looks like a border fence at first glance, is extremely thin and fragile. This work’s sense of three-dimensionality derives solely from the interaction between form and ground. Here, the empty surrounding space is once again essential.
Christoph Eisenring’s photographs, wall pieces and objects cannot be classified as fundamentally belonging to a medium. They play with the specific qualities of the medium and even parody them. Viewers’ disorientation is just as much a part of the works as subtle composition. The visual wit that characterises them shows us that, with regard to the object of our regard, something else always also reveals itself.
Maria Becker, February 2016
Translation : Michael Wetzel