The earth, at the same time, half as small and twice as big (2004/2015) – a text work by Andreas Slominski lends its title to this exhibition. It points to the fact that we could see things differently, if only we allowed ourselves. But, it also clarifies that imagination is required in order to consider the exhibition’s conceptual works.

Usually, performers tell their stories on stage. We want to let objects tell stories. And yet, these stories, as well as the significance of these objects, will remain secret if their context is not revealed. Most of the time, contemporary art is presented in White Cube – perfect and antiseptic. It is designed to create the optimal effect, so that the work appears in the best light. But here, the stage and the auditorium become the exhibition space itself. Not only art, but the theater itself is presented. The historic auditorium turns into its own exhibition object. Willem de Rooij’s Bouquet V (2010), a bouquet of flowers, celebrates this. It is the Dutch artist’s only work that exclusively celebrates the diversity of nature without any limitations to color or form.

On stage, everyday objects appear between regular stage equipment. They are works of art, because the artists have defined them as such. We could ask, what is the difference between Philippe Parreno’s plug and those of the stage lights? On display, there are stacks of books by Carol Bove and Oliver Laric, a hose by Elmgreen and Dragset, as well as a shirt, and a folding ruler by Andreas Slominski. What’s more, there is a designer chair with a bent frame by Wade Guyton and watches by Jan Timme and Jens Haaning, which represent totally different things. In the middle, there are feeding devices for various kinds of pets by Rodney McMillian. And, there is a cheap Daihatsu van that seems to be associated with the famous Poul Henningsen lamp somehow.

Each work of art tells its own story and has its own special context. But each one could also be something that was forgotten on stage after the last rehearsal. The works do not stand on pedestals, but simply on the floor, as if they were real stage performers. They are situated on the revolving stage and on the area nearby. The turntable moves slowly. This way, the positions and relationships between the works shift almost unnoticeably. Even the photos on the walls, works by Christopher Williams which depict technical equipment, are always facing something new. And, above everything, like a moon, stands an Artemide lamp by Cerith Wyn Evans, which transmits a text by Theodor Adorno via Morse code: The stars down to earth (2003).

The Highlighter (1999) by Ólafur Elíasson is a wandering beam of light. It scans the stage and the auditorium, guiding the eye toward various items in both worlds. But, isn’t that exactly what traditional stage lighting is used for? How is it different from a searchlight that delivers nearly the same outcome at every performance?

Axel Haubrok

List of works

Carol Bove
Vege-tables (Land and Sea), 2003

Carol Bove
Tower of the Prophet, 2002

Christoph Büchel
untitled (Düsseldorf), 2001/2006

Matt Calderwood
Tape, 2004

Claire Fontaine
untitled (Lost & Found),2011

Willem de Rooij
Bouquet V, 2010

Ólafur Elíasson
Highlighter, 1999

Elmgreen & Dragset
Gefundene Identität, 2009

Elmgreen & Dragset
Top & Bottom, 2007

Cerith Wyn Evans
Adorno Centenary (The Stars Down to Earth, published 1974), 2003

Douglas Gordon
This is What You Want, 1998

Rodney Graham
Continous Transformation of the Form of a Child’s Sled into that of Another, 2000

Wade Guyton
untitled Action Sculpture (Breuer), 2003

Jens Haaning
Bagdad Time, 2005

Oliver Laric
Art of War, 2012

Oliver Laric
Ancient Copies, 2010

Rodney McMillian
untitled (feeders), 2007

Jonathan Monk
The Documentation of a Life and of a Death, 2011–2012

Jonathan Monk
The Odd Couple (small German version), 2009

Jonathan Monk
Spare Wheels, 2007

Jonathan Monk
A Ten Year Project: Almost Everything is Connected version No. 2, 2006

Phillipe Parreno
ACDC Snake, 1995–2010

Phillipe Parreno
ACDC Snake, 1995–2010

Phillipe Parreno
ACDC Snake, 1995–2010

Andreas Slominski
Die Erde zur gleichen Zeit halb so klein und doppelt so groß, 2005/2014

Andreas Slominski
untitled, 2004

Andreas Slominski
untitled, 1999

Andreas Slominski
untitled, 1988

Simon Starling
Waratah (Artichoke, Kogle, Zapfen, Pomme de Pin), 2001

Jan Timme
complices accomplis, 2001/2002/2009

Vo, Danh
untitled, year unknown

Christopher Williams
Clockwise from Manufacturer Name
(Outer Ring), Michelin, X M+S 89, Clockwise from Tire Size
(Inner Ring), 135 R 15, 72 Q E2 0281541, M + S, Tubeless, Radial X, TF 852 20-2044, Tread: 1 Polyester Ply + 2 Steel Plies, Sidewall: 1 Polyester Ply, Canada and U.S. Codes Only, Max Load 355 Kg (780 Lbs), Max Press. 350 kPa (51 PSI) V-1
Photography by the Douglas M. Parker Studio, Glendale, California,
January 03 – January 04, 2008, 2008

Christopher Williams
Kiev MC Arsat PCS 4.5/55 mm shift lens
Focal length: 55 mm
Aperture scale: 4.5–22
Focusing scale: 0.3 m (0.98 ft) to infinity
Minimum focusing distance: 1.2 ft (0.5 m)
Field of view: 69 degrees (with shift), 84 degrees (without shift)
Number of elements: Nine elements in seven groups
Filter size: 72 mm
Weight: 2 lbs
Serial number: 0051
Photography by the Douglas M. Parker Studio, Glendale, California
January 27, 2007, 2007

Christopher Williams
Universal travel adaptor
Scorpio Distributors Ltd., Unit DZ, West Sussex, Great Britain
Product number: TXE77000
Power rating: 6 A max 125/250 VAC
With built-in surge protector
With safety shutters
Surge status indicator light
110 VAC or 220 VAC light indicator
Built-in 13A fuse
Testing based on international standard IEC 884-2-5 witnessed by TÜV, CE EMC approval
Photography by the Douglas M. Parker Studio, Glendale, California
December 15, 2005, 2005

Christopher Williams
Kiev MC Arsat (Zodiak-8) 30 mm f3.5, 1:3.5
Product Aperature: f/3.5
Serial Number: 870701
Medium Format Camera Lens
Photography by the Douglas M. Parker Studio, Glendale, California
August 4, 2005, 2005

Heimo Zobernig
untitled, 2005