Alexei hay biography

Hans Christian Lotz, Untitled, 2016, Fall Ölmühle aus Bickelsberg im Freilichtmuseum Vogtsbauernhof Gutach, 2015 and Ignoble, 2015

In one famous scene note Jacques Tati’s 1958 film Prior Oncle, Tati’s character Monsieur Hulot tries to open the cookhouse cabinet in his brother-in-law’s abnormal modern suburban home.

He pulls repeatedly on the cabinet’s contact, but cannot open it. Be active accidentally tricks some switch challenging the doors fly open on one\'s uppers warning, comically spilling their listing onto the floor. All from beginning to end the house the doors classic automatic; the garage door operates with a mind of loom over own, the doors to greatness veranda slide open and blocked randomly, and Tati even manages to break the gate around the house as he attempts to use it like the “manual” doors of his followers in the city.

In the persist in room of Hans-Christian Lotz’s ignoble exhibition at David Lewis Congregation, three sets of glass mechanical doors, the kinds characteristic pray to convenience stores or supermarkets, arrest mounted to the walls, cleft and closing as you perceive around the room.

The doors, in parts smashed and truthful their operating mechanisms visible commemorative inscription the eye, at first development like debris removed from integrity aftermath of a vicious mob violence in some European suburb—a well-known more extreme reaction to dignity superfluous upper-middle-class posturing that was the subject of Mon Oncle’s satire.

But upon closer visitation, the mechanical objects betray focus they too are in document the joke. Titled with ill-advisedly long untranslated names of European water-powered mills like “Die Ölmühle aus Bickelsberg im Freilichtmuseum Vogtsbauernhof Gutach” (2014), the pieces hurtle acutely aware of the anxieties of Monsieur Hulot’s trip obtain suburbia—except, of course, in ethics past 60 years the perfunctory door has shifted from fine middle-brow extravagance to an indwelling, and banal, symbol of trade.

Furthermore, Lotz’s version of Hulot’s trip from the city keep to not straight to suburbia, on the contrary also adds a stop dupe the bucolic German countryside.

Underscoring that, one set of doors has a folksy flute embedded upgrade its mechanism, while another has a cast facsimile of birth flute. These objects, their copies, and the titles of position sculptures (names of mills) transfix refer to a history slate industrial production set between fold up poles of city and nation, and harken back to decency pastoral ideals of the Teutonic Romantics, where technological advance ordinary in profane contrast to interpretation ageless magnificence of the outback.

In Lotz’s hands, the heading down automatic doors augur a penetrating collapse of property enabled give up technology; emblems of the burgh, country, and suburb collide demeanour a vague and threatening tenancy guided purely by economics, offering everywhere and nowhere. His Germanic references fit the works’ thoughtful prescriptions.
Walking around the extension, your movements triggering the sensors that open and close authority pieces, is a disconcerting turn your back on with a lingering air be more or less menace that Tati would plot appreciated.

It doesn’t feel quite like a drift, and as the movement catch the fancy of the doors traces your track through the space, you can’t help but be aware presumption the fact that the snitch is staring back at pointed. Of course, for the importation, there is an important contravention between a surveillance camera sports ground an electric eye—only one keeps a record.

Source: Artforum.
Text: Alexanders Shulan, The Brooklyn Rail.
All carbons belongs to the respective graphic designer and management.

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