The Displacement Effect: Curated by Kirsty Bell with Jochum Rodgers

26 June - 22 August 2021
  • The Displacement Effect stages a temporary constellation of artworks and objects in an open-ended discursive encounter. The exhibition proposes a movement through distinctive counterpoints of art, design and material. Rather than a strictly thematic or scholarly approach, it adopts a responsive, additive process that suggests intersection as a route towards meaning or revelation. Within this space of conjecture, the airy vitrine-like showroom itself has a crucial role to play.

     

    With works by Ketuta Alexi-Meskhishvili, Tolia Astakhishvili and James Richards, Gae Aulenti, Renata Bonfanti, Andrea Büttner, Xinyi Cheng, Sofie Dawo, Liliana Grassi, Vera Palme, Reni Shulman-Trüdinger, Nanda Vigo.

  • Ketuta Alexi-Meskhishvili, for any one of you, 2021

    Ketuta Alexi-Meskhishvili

    for any one of you, 2021 Archival pigment print
    185 x 152 cm / 72.8 x 59.8 inches
    Unframed
    Edition of 1 (#1/1) + 1 AP
  • A variety of displacements are set in motion, the first of which is a shift back in time to the building’s original 1964 incarnation as Kunst im Heim, a showroom for Fine and Applied Arts. The furniture objects and textiles here were made by six different women, five of whom were born in the 1920s, while the youngest, Nanda Vigo, was born in 1936. They were all active in Europe in the post-war period at a time where it was rare to find women working in the areas of architecture or design.

  • Sofie Dawo, Untitled, ca. 1970

    Sofie Dawo

    Untitled, ca. 1970

    Sofie Dawo (1926-2010) studied at the Academy for Arts and Crafts in Saarbrücken and was a Professor there from 1958 until her retirement in 1992. It was within this context that she undertook a rigorous analysis of the potential of fibre as a medium, introducing a variety of techniques and materials including cotton, waxed yarn, nylon, silver foil, plastic and metal. She received little recognition for her ground-breaking works during her lifetime, beyond the specific forum of the “International Tapestry Biennials” that were held in Lausanne from 1962 and 1995. Her works ranged from small weavings which investigated materials, techniques and graphic forms, to exuberant, experimental hangings.

  • Sofie Dawo
    Untitled, 1965
    Textile, black wool on neutral colored base
    Object dimensions: 46 x 47 cm / 18.1 x 18.5 inches
    Framed dimensions: 59 x 55 cm / 23.2 x 21.7 inches
  • Reni Shulman-Trüdinger, Typ II, 1956

    Reni Shulman-Trüdinger

    Typ II, 1956

    Reni Shulman-Trüdinger (1927-2000) was born in Switzerland and worked as an interior architect, designing the Swiss Pavilion for the 1970 World Fair in Osaka. She worked with Charlotte Perriand early in her career. This modular system, used for sideboards and free-standing shelves, was designed in 1956 and produced by Wohnhilfe Zurich until 1959. Trüdinger later married architectural photographer Julius Shulman and lived in the USA.

    • Nanda Vigo Untitled, 1970 Unique bar cart, brass, grey mirror glass, laminate with Abet print, wood, on casters Design for a private apartment in Merate, Italy; manufactured by Conconi & Figli Milano, Italy 82 x 81 x 48.5 cm 32.3 x 31.9 x 18.9 inches
      Nanda Vigo
      Untitled, 1970
      Unique bar cart, brass, grey mirror glass, laminate with Abet print, wood, on casters
      Design for a private apartment in Merate, Italy; manufactured by Conconi & Figli Milano, Italy
      82 x 81 x 48.5 cm
      32.3 x 31.9 x 18.9 inches
    • Gae Aulenti Locus Solus, 1964 Original armchair with armrests, orange steel pipe, seat, purple felt cover Manufactured by Poltronova, Italy 82 x 74 x 100 cm 32.3 x 29.1 x 39.4 inches
      Gae Aulenti
      Locus Solus, 1964
      Original armchair with armrests, orange steel pipe, seat, purple felt cover
      Manufactured by Poltronova, Italy
      82 x 74 x 100 cm
      32.3 x 29.1 x 39.4 inches
    • Renata Bonfanti Untitled, 1962 Carpet, hand-woven wool 230 x 220 cm 90.6 x 86.6 inches
      Renata Bonfanti
      Untitled, 1962
      Carpet, hand-woven wool
      230 x 220 cm
      90.6 x 86.6 inches
    • Nanda Vigo TOP, 1970 Unique armchair, wooden construction, aluminum, grey mirror glass, seat cushion, on casters Design for a private apartment, manufactured by FAI International, Italy 68 x 51 x 53 cm 26.8 x 20.1 x 20.9 inches
      Nanda Vigo
      TOP, 1970
      Unique armchair, wooden construction, aluminum, grey mirror glass, seat cushion, on casters
      Design for a private apartment, manufactured by FAI International, Italy
      68 x 51 x 53 cm
      26.8 x 20.1 x 20.9 inches
    • Liliana Grassi Untitled, ca. 1950 Unique side table, brass frame, walnut stained wood slats, red metal legs 40 x 118 x 47 cm 15.7 x 46.4 x 18.5 inches
      Liliana Grassi
      Untitled, ca. 1950
      Unique side table, brass frame, walnut stained wood slats, red metal legs
      40 x 118 x 47 cm
      15.7 x 46.4 x 18.5 inches
  • Alongside these distinctive design objects are floor-to-ceiling photographic draperies by Ketuta Alexi-Meskhishvili that form semi-transparent thresholds of ambiguous, subliminal imagery. Assemblages by Tolia Astakhishvili in collaboration with James Richards form a tide-line of the incidental, forgotten objects, seen only from the corner of your eye. In a series of new woodcuts, Andrea Büttner considers the seasonal rituals of the local Spargel harvest, continuing her investigations into occluded, lowly and uncredited occupations. Vera Palme’s canvases reflect on tensions between content and evacuation on the painted surface. And Xinyi Cheng’s ‘Long Distance Swimmer’ brings our viewpoint down below the water’s surface.

    • Ketuta Alexi-Meskhishvili Danama, 2021 Inkjet print on organic cotton Dimensions variable, site-specific
      Ketuta Alexi-Meskhishvili
      Danama, 2021
      Inkjet print on organic cotton
      Dimensions variable, site-specific
    • Ketuta Alexi-Meskhishvili I am your slice, 2021 Inkjet print on organic cotton Dimensions variable, site-specific
      Ketuta Alexi-Meskhishvili
      I am your slice, 2021
      Inkjet print on organic cotton
      Dimensions variable, site-specific
  • Andrea Büttner, Spargelfeld, 2021

    Andrea Büttner

    Spargelfeld, 2021 Woodcut on paper, Triptych
    Image dimensions (each): 160 x 92 cm / 78.7 x 39.4 inches
    Paper dimensions (each): 200 x 116 cm / 78.7 x 45.7 inches
    • Tolia Astakhishvili and James Richards Tenant (Dream Catcher), 2021 Found objects and photos, leaves, earth, sand and ash Dimensions variable
      Tolia Astakhishvili and James Richards
      Tenant (Dream Catcher), 2021
      Found objects and photos, leaves, earth, sand and ash
      Dimensions variable
    • Tolia Astakhishvili and James Richards Tenant (Dream Catcher), 2021 Sanguine chalk, plasterboard, screws, chain, stickers Dimensions variable
      Tolia Astakhishvili and James Richards
      Tenant (Dream Catcher), 2021
      Sanguine chalk, plasterboard, screws, chain, stickers
      Dimensions variable
    • Tolia Astakhishvili and James Richards Tenant (Dream Catcher), 2021 Slide projection, room, light box, sensor, drawing on paper, found objects Dimensions variable
      Tolia Astakhishvili and James Richards
      Tenant (Dream Catcher), 2021
      Slide projection, room, light box, sensor, drawing on paper, found objects
      Dimensions variable
    • Tolia Astakhishvili and James Richards Tenant (Dream Catcher), 2021 Drawings on paper, tempera on canvas, painting, collages, prints, found objects and photos, plaster, water Dimensions variable
      Tolia Astakhishvili and James Richards
      Tenant (Dream Catcher), 2021
      Drawings on paper, tempera on canvas, painting, collages, prints, found objects and photos, plaster, water
      Dimensions variable
  • Matter displaces water, water displaces air, air displaces matter, but none of it disappears for good. In psychology, a ‘displacement effect’ is an involuntary defense mechanism where the human mind transfers the effects of an occurrence it finds unacceptable to another situation which it can tolerate. This process relieves stress and tension. Misery and anxiety are displaced by calming alternatives, but the problem does not go away. Displacements on a structural level create imbalance by shunting things of different value to the disregarded margins. Integrity is ousted by the sheer scale of an overemphasized mainstream. This exhibition asks: where do these displaced ones go? How can they be found and re-centred?

  • Vera Palme, SOS (high), 2020

    Vera Palme

    SOS (high), 2020 Oil on linen
    200 x 160 cm / 78.7 x 63 inches
  • Xinyi Cheng, Long-distance Swimmer, 2021

    Xinyi Cheng

    Long-distance Swimmer, 2021 Oil on canvas
    55 x 45 cm
    21.6 x 17.7 inches
  • This exhibition is realized by writer and curator Kirsty Bell in collaboration with 20th Century furniture specialist Hans-Peter Jochum from...

    Kirsty Bell & Hans-Peter Jochum on a carpet by Renata Bonfanti

    This exhibition is realized by writer and curator Kirsty Bell in collaboration with 20th Century furniture specialist Hans-Peter Jochum from Jochum Rodgers in Berlin-Charlottenburg. Kirsty Bell’s new book The Undercurrents. A story of Berlin will be published by Fitzcarraldo Editions in Spring 2022. Its German translation, Gezeiten der Stadt. Eine Geschichte Berlins, translated by Laura-Su Bischoff and Michael Bischoff, will be published by Kanon Verlag in October 2021.