BERNHARD KAHRMANN. uncertain memories. 05.05.2006 – 10.06.2006 

Press Release
Exhibition Views

english / deutsch

Galerie Reinhard Hauff is pleased to announce „uncertain memories“—the 3rd solo show with Berlin artist Bernhard Kahrmann—a graduate of the Stuttgart Art Academy and the Amsterdam Rijksakademie. Kahrmann (born 1973) could last be seen in Stuttgart in 2004 with a complex room installation in the dome of the Württembergischen Kunstverein. The recent catalogue „Bernhard Kahrmann: Somewhere—Not Here“ (Revolver-Verlag) was published for the three venues of that show: the Württembergischer Kunstverein, Stuttgart, the Punktleuchten Littmann Kulturprojekte, Basel and the Museum Goch, Goch.

Numerous screens and projection surfaces, placed all over the exhibition rooms of Galerie Reinhard Hauff in „uncertain memories“, play off fragmented sequences of film loops where mysterioulsy, weightless curtains and veils slowly move within a not identifiable space. A shrill, bright light sweeps across the rooms, blinds the viewer and breaks up into prismatic colours. The parameters of the exhibition rooms and the passages in which the lightweight materials seem to be moving as through a light breeze, can only be perceived as flickering, truncated architectural fragments. The light which falls through a window or door opening never seems to come from „outside“ or beyond the space in which wind and air gives movement to light. All the colours are subdued—there are no sound effects, no cutting or framing of images, no camera movement. In these new, starkly reduced works,
Bernhard Kahrmann renounces on the suggestive images with their storyline—or at least what could be interpreted as desriptive references—which were woven into the fabric of his previous light installations.

Space, light and the flapping of cloth combine for an atmospheric, primordial image which—much like a computer generated animation—contains nothing of human reference. This environment is a densily associative space where—contrary to
Kahrmannʻs earlier video- and slide installations in which the viewer was physically immersed in the projection- movement has been transferred and restricted to the monitors.

This movement away from direct and towards indirect experience of the spatial boundaries of the installation where room structures were perceived as architectural props, have in this show been carried to a consequent, total minimalist reduction inasmuch as these images and projections now embody nothing concrete, tangible—nothing with authentic human or man-made reference. Likewise, the memories or feelings they evoke also begin to waver, dissolve, disintegrate and destabilize as a fitting commentary on contemporary visual experience.