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Yours, KOW

Das Etablissement der Tatsachen The Establishment of Matters of Fact

, Alice Creischer

Apr 27 – Jul 22, 2012

DeutschEnglish

"The Establishment of Matters of Fact" was the guiding principle of the early empirical sciences. They brought a new power into the world: the power of fact. Truth was to become manifest in the scientific experiment as though of its own accord: unaffected by regimes of belief, unconstrained by the interests of the ruling powers. In short, pure fact.

„The Establishment of Matters of Fact“, das war das Motto der frühen empirischen Wissenschaften. Sie brachten eine neue Macht in die Welt: die Macht der Tatsachen. Experimentelle Forschung sollte Wahrheiten wie von alleine liefern, unbeeinträchtigt von Glaubensregimen, frei von Herrschaftsinteressen. Reine Tatsachen eben.

For her exhibition, the Berlin-based artist, writer, and curator Alice Creischer, who was born in 1960, has mistranslated this central motto of the seventeenth century: "Das Etablissement der Tatsachen." If this title sounds vaguely disreputable, that is very much intended: Creischer’s multipart installation for KOW illustrates that the normative power of the factual constitutes a regime in its own right, one that is permeated by domination and politically obscene.

At the center of the exhibition stands the matter-of-factly reconstruction of a vacuum pump the scientist Robert Boyle, a founding member of the Royal Society, used in the 1660s to prove the existence of a vacuum, or the absence of air from a space. His claim led to a dispute with the political theorist Thomas Hobbes: Boyle intended to arrive at true propositions with the assistance of technical implements and "modest witnesses" (neutral observers); Hobbes, by contrast, insisted that even scientific insight had to submit to the power of the absolute ruler, the "Leviathan", and rejected Boyle’s experiments. If the existence of a vacuum could be proven by experimental means alone, without regard for the laws of pure reason and political philosophy, this space would be exempt from government control and, Boyle feared, might provoke a political vacuum as well, i.e., anarchy and civil war.

Dieses zentrale Motto des 17. Jahrhunderts hat die Berliner Künstlerin, Autorin und Kuratorin Alice Creischer, Jahrgang 1960, in ihrem Ausstellungstitel falsch übersetzt in: „Das Etablissement der Tatsachen“. Das klingt anrüchig. Mit Grund, denn Creischers vielteilige Installation für KOW zeigt die normative Macht des Faktischen selbst als ein Regime, von Herrschaft durchzogen und politisch obszön.

Im Zentrum der Ausstellung steht der lapidare Nachbau einer Vakuumpumpe, mit der Robert Boyle, Wissenschaftler und Mitbegründer der Royal Society, in den 1660er Jahren die Existenz des luftleeren Raumes bewies. Darüber geriet er jedoch in Streit mit dem Staatstheoretiker Thomas Hobbes. Denn während Boyle wahre Aussagen mithilfe technischer Apparaturen und „neutraler Beobachter“ („Modest Witness“) treffen wollte, bestand Hobbes darauf, dass sich auch wissenschaftliche Erkenntnis der Herrschaft des Absolutismus unterwerfen müsse, dem Leviathan, und lehnte Boyles Versuche ab. Ließe sich ein luftleerer Raum allein experimentell nachweisen, ohne Rücksicht auf die Gesetze der reinen Vernunft und staatstragender Philosophie, wäre er jeder Regierungskontrolle entzogen und provoziere, so Hobbes Befürchtung, potenziell auch ein politisches Vakuum – Anarchie und Bürgerkrieg.

Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Detail, Curtain, Xerox copies, ink and pen on satin
DeutschEnglish

Here, too, to understand is to appropriate. Knowledge is not something we just find.

Verstehen heißt aneignen, auch hier. Wissen wird nicht einfach gefunden.

Boyle prevailed. He expended immense efforts to make his vacuum pump leak-proof enough that it could be used to suffocate lab mice. Far from creating anarchy, he invented the death in the laboratory as a demonstration of physical fact that could be reproduced before witnesses. The family trees, scientific classifications, and genetic codes of countless generations of lab mice serve Creischer to hang parts of her installation, which idiosyncratically short-circuits Boyle’s experimental arrangement with present-day political events and denounces the illusion of a knowledge isolated from power. Creischer guides the visitors through a dense sequence of images, collages, objects, and encoded poems; the exhibition also features a dramatic script in four acts that comes with a critical apparatus—an appendix that is as detailed as it is hard to read.

Encryption and the deliberate withholding of information are the defining characteristics of the exhibition’s semantics. Here, too, to understand is to appropriate. Knowledge is not something we just find. What can be known and what cannot is subject to conditions—for the one who speaks and the one who listens. No fact is innocent; neither is the knowledge of it, nor its critique. Creischer observes as the critical zeitgeist establishes new Leviathans, and she refuses to comply. Her exhibition remains deliberately fragile, both in its means and in its assertions. She addresses political matters of the present against a backdrop of profound familiarity with the early history of capitalism and its ties to the rational universalism of the Enlightenment as well as the shared presumptions both have been guilty of ever since—but everyone furnishes his or her own "Establishment of Matters of Fact", as well as its deconstruction.

As a theorist and art critic, Alice Creischer has staked out an influential position in the theoretical and political discourse of the German arts scene since the 1990s. Her art, however, has been fairly rarely on display in Berlin. She has long been a regular writer for Texte zur Kunst and springerin. As a curator, she has worked on important exhibitions around the critique of neoliberalism and colonialism: "Violence Is at the Margin of All Things" (2002), "ExArgentina" (2004), and "The Potosí Principle" (2010–2011). Solo shows at art institutions have featured Creischer’s work in conceptual art, painting, and sculpture. In 2007, she participated in documenta 12. We now present Alice Creischer’s first solo exhibition at a gallery.

Text and photos: Alexander Koch / Translation: Gerrit Jackson

Boyle setzte sich durch. Er betrieb immensen Aufwand, um seine Vakuumpumpe so dicht zu bekommen, dass sich Versuchsmäuse in ihr ersticken ließen. Statt Anarchie zu stiften erfand er den Tod im Labor als physikalischen Tatsachenbeweis, vor Zeugen reproduzierbar. An den Stammbäumen, wissenschaftlichen Klassifizierungen und genetischen Codes von zig Labormausgenerationen hängt Creischer Teile ihrer Installation auf, die Boyles Versuchsanordnung idiosynkratisch mit politischen Geschehnissen der Gegenwart kurzschließt und dabei die Illusion herrschaftsfreier Erkenntnis denunziert. Creischer lenkt die Besucher durch einen dichten Parcours von Bildern, Collagen, Objekten und chiffrierten Gedichten, zudem liegt der Ausstellung ein Theaterskript bei, geschrieben in vier Akten und versehen mit einem ausführlichen, jedoch schwer entzifferbaren Quellenapparat.

Chiffrierung und bewusster Entzug von Information prägen die Semantik der Ausstellung. Verstehen heißt aneignen, auch hier. Wissen wird nicht einfach gefunden. Was sich wissen lässt und was nicht, dafür gibt es Bedingungen. Für den, der spricht, und für den, der zuhört. Keine Tatsache ist unschuldig, auch nicht deren Kenntnis und auch nicht deren Kritik. Creischer sieht, wie der kritizistische Zeitgeist neue Leviathane etabliert und folgt ihnen nicht. Bewusst bleibt ihre Ausstellung sowohl in ihren Mitteln wie auch in ihren Behauptungen fragil. Zwar verhandelt sie politische Verhältnisse der Gegenwart vor dem Hintergrund profunder Kenntnis der Frühgeschichte des Kapitalismus und seiner Verschränkung mit dem rationalen Universalismus der Aufklärung und der gemeinsamen Anmaßungen beider seitdem – das „Etablissement der Tatsachen“ richtet sich aber jeder selber ein. Dessen Dekonstruktion auch.

Als Theoretikerin und Kunstkritikerin gilt Alice Creischer seit den Neunzigerjahren als eine einflussreiche Position im theoretischen und politischen Diskurs der deutschen Kunstszene. Als Künstlerin war sie in Berlin jedoch eher selten zu sehen. Sie zählt zum festen Autorinnenstamm von Texte zur Kunst und springerin. Als Kuratorin wirkte sie an bedeutenden Ausstellungen zur Kritik von Neoliberalismus und Kolonialismus mit: „Die Gewalt ist der Rand aller Dinge“ (2002), „ExArgentina“ (2004), „Das Potosí-Prinzip“ (2010/2011). Institutionelle Einzelausstellungen zeigten Creischer als Konzeptkünstlerin, Malerin und Bildhauerin. 2007 war sie auf der documenta 12. Wir zeigen Alice Creischers erste Galerie-Einzelausstellung.

Text und Fotos: Alexander Koch

Alice Creischer, Das Etablissement der Tatsachen, 2012, Paper, silver paint, collage, 120,5 x 282 cm
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Ink, curtain, adhesive letters and mixed media on satin
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Ink, curtain, adhesive letters and mixed media on satin, detail
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies)
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies)
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (poster, drinking straws, mixed media)
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (poster, drinking straws, mixed media)
Alice Creischer, If Stones and Metals Had a Desire, 2012, Installation (aluminium plate, drinking straws, photographies and collages)
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, If Stones and Metals Had a Desire, 2012, Altered photography on aluminium plate, 59,4 x 84,1 cm
Alice Creischer, Die Wolken, 2012, Altered photography, 42 x 59,4 cm
Alice Creischer, If Stones and Metals Had a Desire, 2012, Installation (aluminium plate, drinking straws, photographies and collages), Collages 29,7 x 42 cm each
Alice Creischer, If Stones and Metals Had a Desire, 2012, Installation (aluminium plate, drinking straws, photographies and collages), Collages 29,7 x 42 cm each
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies), detail
Alice Creischer, Vorlesung von Michel Foucault vom 21. Januar 1976 im Collège de France, 2012, Installation (ink, silver thread, satin, wood, textile, xerox copies), detail
Alice Creischer, Collages and coloured photographies, 2012
Alice Creischer, Work Station with Theater play, 2012, Mixed media, installation view
Alice Creischer, Das Etablissement der Tatsachen, 2012, Paper, silver paint, collage, 120,5 x 282 cm
Alice Creischer, Work Station with Theater play, 2012, Mixed media, detail
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), detail
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), installation view
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, Encoded poems, 2012, Xerox copies on colour paper, 14 parts
Alice Creischer, In einem Theater namens The Establishment of Matters of Fact, 2012, Installation (mixed media), detail
Alice Creischer, Portfolio, 2012, Presentation folder with collages, installation view
Alice Creischer, Portfolio, 2012, Presentation folder with collages, installation view

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, Anna Boghiguian, Candice Breitz, Marco A. Castillo, Alice Creischer, Chto Delat, Heinrich Dunst, Anna Ehrenstein, Peter Friedl, Sophie Gogl, Clegg & Guttmann, Estate of Barbara Hammer, Hiwa K, Simon Lehner, Renzo Martens, Oswald Oberhuber, Mario Pfeifer, Santiago Sierra, Michael E. Smith, Franz Erhard Walther
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2019

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2018

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2017

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2016

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2014

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2013

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2012

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2011

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2010

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