Neue Berliner Räume
Presse
Opened
"I remain intrigued by the puzzle presented by an object that does not signify. [...] Flags usually bind together nation with territory, and bodies with space. I wanted to see what happens if you take the potency of this symbol and prevent it from signifying, so that its potency can float freely, standing for anything or nothing at all. When I first started testing out the idea, in Flags with no meaning, I was interested in a sort of globalism, and an altogether naïve kind of utopianism. […] But at some point I began identifying aspects of borderlessness that already exist: the stateless individual, for example, or the global neoliberal capitalist market.That complicated things immensely, which made me want to tease out the concept in different (social) contexts in order to understand better. "
Interview mit Sonja Hornung
a.muse
Julie Anne Miranda-Brobeck
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Emptying flags
If I understood correctly, you are trying not to impose anything on people as the point seems to be to create an unmarked space.
"Yes, and it’s not an easy space either because borderless space exists today in many different forms, like tax havens for example or refugees who live in a space without the protection of borders. It’s not a utopian reality; it’s a difficult space to be in. But then I think it’s really important to acknowledge that. Or to acknowledge the fact that the stuff you use comes from somewhere you’ve never been to – you know, your iPhone comes from Foxconn in Shenzhen and there are real people who made those things. Just because you can’t see that space or because there are multiple borders in-between you and that space that doesn’t mean there isn’t an immediate connection between you and your money and that thing. I guess we live in a world where we can no longer pretend that the things outside our periphery can be neatly demarcated as being separate from our everyday reality. So I am trying to use the meaningless flags to think space differently, to open up a new space, an open space that wavers, for me, between disappointment and promise."
Interview mit Sonja Hornung
160g Magazine
Arkadij Koscheew
Shroud
Carey relishes these experiences of exhibiting outside of the white cube, and for the Humboldt site she was taken with not only the space’s architecture (the Veterinary Anatomical Theatre was designed by Carl Gotthard Langhans, designer of the Brandenburg Gate) but also its historical use. [...] Carey’s oeuvre consistently addresses themes of mortality and human understanding and ritualisation thereof. In conceptualising these questions, she uses a range of materials, though drawn towards those with symbolic significance like flowers, ash and blood. How to remember, how to memorialise that which has passed: these issues are as old as the human race. The artist has most recently been preoccupied with the idea of the monument and specifically with challenging their status as eternal Ozymandias-esque memorials. Instead, she creates temporary and decaying narratives of remembrance, echoes in themselves of the passing of time.
Sleek Magazine
Josie Thaddeus-Johns
Shroud
Das Werk ist vielschichtig wie die Geschichte des Ortes. [...] Mit Careys Werk im Anatomietheater lenken die „Neuen Berliner Räume“ den Blick auf Kunst und gleichzeitig auf ein eindrucksvolles medizinhistorisches Relikt.
Hannoversche Allgemeine Zeitung
Johanna di Blasi
Shroud
Jodie Carey erschließt die Zootomie vom Boden her. So simpel wie wirkungsvoll vereinnahmt sie die Räume und verleiht ihnen eine Wirkung, die von der Erfahrung der freien und des versperrten Zugangs sowie des sich darüber hinweg setzenden Blickes herrührt. Bewegungsrichtungen und Sichtachsen werden vorgegeben und formen die Raumerfahrung – einmal entlang der begeh- und einsehbaren Bereiche und dann wiederum, wenn das nicht ausreicht, sich von dem bedeckten Boden abhebend und nach oben weisend. Der Raum gewinnt schließlich seine Kraft vom bedeckten Boden her. Dafür muss er sich jedoch keinesfalls eines Zutritts wehren, jedenfalls nicht, wenn kein so fragiles Material wie Knochenmehl diese Wirkung aufrecht erhält.
Castor & Pollux
Matthias Planitzer
Shroud
Jodie Carey versucht eine Brücke zu schlagen zwischen dem, was war, und der Leere, die folgt.
Der Tagesspiegel
Birgit Rieger
All Palaces are Temporary Palaces
"All Palaces are Temporary Palaces“ – so lautet die riesige Leuchtschrift, die derzeit über dem „C/O Berlin“ in Mitte thront. Der Auszug des Ausstellungshauses für Fotografie aus dem kaiserlichen Postfuhramt steht in ein paar Wochen an, denn Investoren warten schon, um das Gebäude zu sanieren. [...]Was tun, wenn ein Ausstellungshaus obdachlos wird? Der simple Lichtslogan des britischen Künstlers Robert Montgomery hat neben aller Abschiedsmelancholie auch einen ironischen, bitteren Beigeschmack bekommen.
Frankfurter Allgemeine Zeitung
Verena Straub
Echoes of Voices in the High Towers
Montgomery’s works serve as a microcosm of larger social phenomena, as he traces personal memories and sentiments through his writing in an effort to speak to the deep melancholia of our modern age. He has chosen the billboard as his canvas in order to create a potential dialogue with the viewer in a setting that is conventionally imposing and monological.
Berlin Art Link
Alison Hugill
A room that was never meant to be.
Jodie Carey delicately produced digital prints allowing elements of the originals to peek through. The layers within these pieces mirror the layers in the walls on which they rest. Even further, and coincidentally, a fleck of blue paint in the exact hue as Carey uses in a number of her prints, peeks out behind plaster. Instead of being hung, the photos simply rest on a thick molding which in this way appears as a shelf, as if the space were always meant for such a context, making it only harder to accept the fleeting impermanence of the moment.
Berlin Art Link
Sarah Gretsch
Echoes of Voices in the High Towers
Your billboard interventions are quite poignant, rather than ironic. There’s a sincerity to them.
"Yeah, I don’t want to be ironic.
I don’t feel that I study from an ironic post-Duchampian school.
I feel more from a post-Beuysian school – things that aren’t just about nihilistic Duchampian irony but are rather about questions of spirituality that are genuine and tend to engage with society and politics. I think in London that discourse has been largely shut down for my generation, just because the [Young British Artists] were so good at perfecting that post-Duchampian irony, that it’s sort of been done already."
Interview with Robert Montgomery
EXBERLINER
Susanna Davies-Crook
Echoes of Voices in The High Towers
Montgomery speaks about cities as being like living museums, alive with memory. Inspired by a speech by Victor Hugo, Montgomery’s poems form the voice of an unspoken figure–the voice of the city as a living museum. Whilst the voice is knowing, it is not powerful, repeatedly using the word “please”, pleading for a peaceful future.
Maude Magazin
Catherine Ailsa Jones
Echoes of Voices in The High Towers
The Scottish artist installs poetry in unexpected urban sites, often illegally covering up billboards with his stripped down white-on-black text. Others are made of lights or even lit on fire, adding a ghostly air to the lonely public spaces. Some of his poems comment on the ways capitalism has created a paranoid public in which we live in a flood of images detached from our world and ourselves.
Huffington Post
Interview by Priscilla Frank
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