They conjure the relations of singularities to multiplicity, a soft empiricism that insists on the aesthetic and textural character of representation (but not representation as 2D images which today exist in such overwhelming superfluity – claiming and numbing our perception). These objects are monads in the sense of Leibniz or Benjamin, tiny cells (on average 2 x 15 x 15 cm), small worlds, in total a taxonomy of scripted physical narratives.
“Peter Wilson. Small World Theory”
26 September – 26 October, 2019
SATELLIT Architektur Galerie Berlin
Karl Marx Allee 98, 10243 Berlin
The object titles are significant, they are in English (my native language) and owe a certain debt to Laurence Sterne or Glen Baxter, e.g. ‘Continental Drift and What to do About it’, others are more specifically referenced, e.g. ‘Freaky Suit Malevich’. Also works like ‘Beuys im Knast’ (Beuys in Jail) or ‘Psychological Disturbances of the Neanderthaler’ play on the ‘lost in translation syndrome’ resulting from their author’s cultural displacement.
The exhibition title ‘Small World’ Theory implies chains of correspondences, the wacky science of average path lengths for (social) networks, degrees of separation and the connecting of a maximum number of points. Gaussian random walks are expected.