Matan Mittwoch and Royden Rabinowitch

Free of Immediacy

April 29 – June 4, 2017
Opening April 28, 6-9 pm

Lindenstrasse 34
Berlin, Germany

Free of Immediacy, an exhibition curated by Ory Dessau with works by Royden Rabinowitch and Matan Mittwoch.

The exhibition Free of Immediacy seeks to bypass the basic notions underlying the canon of modernist abstraction, i.e., the idea of a direct, unmediated visual experience within an isolated field of vision. The exhibition seeks to prevail beyond the level of appearance, visibility, and form; beyond the confinements of human observation. It relates to the world in quantitative-calculative terms to undermine the totality of subjective expression and perception; yet, while disconnecting the empirical description of the world from direct experience, the exhibition also establishes an unfamiliar ground for cultural pluralism, for self- and collective-relativity. It does so through the sculptural work of Royden Rabinowitch (born 1943, Canada), accompanied by the photographic work of Matan Mittwoch (born 1982, Israel). The exhibition does not pretend to be a summary of current tendencies in the contemporary art scene, but to be a preliminary outline, a proposal of a proposal.

Royden Rabinowitch’s recent floor installation is a sort of sculptural topology whose formations were exclusively determined by a mathematical equation, and disposed in real space based on the rules of a mathematical operation. Rabinowitch’s work incorporates mathematical principles as a metaphor of an impersonal universe which is separate from and is unconditioned by direct, immediate experiences. But by implementing the metaphor of the impersonal universe of mathematics in real space, Rabinowitch’s work confronts the viewer with the limits of human perception, imposing a direct experience actualising the invalidity of a direct experience. Introducing the rift between scientific-mathematical description of reality and daily life, Rabinowitch’s work also opens an ethical discourse in which the viewers become aware of their impossibility to appropriate or rule the world, of the fact that each of them shares it with others.

Channelling the exhibition in different directions, Matan Mittwoch’s Blinds series (2015) stems from a sequence of close-range shots made to a standard I-Pad screen, taken when the device is turned on but displaying no data. An outcome of an empty device caught in a state of sensory deprivation, Mittwoch’s prints present the structural configurations held behind and below the I-Pad screen. They present the structural configurations of the mechanism that generates and stores all the images in the world. They are the suspended, inaccessible, unseen imagery of all imagery. They subvert the technological immediacy of digital tele-communication, breaking the transparent crust of its screens, its devices.