Future Finds – 30 October 2021–8 January 2022
The exhibition title “Future Finds” plays on the notion of future archaeologists discovering the exhibited works. Many of the pieces are reminiscent of fossilised remains or have been altered in a way that fur-nishes them with artefact-like traits.
Christoph Eisenring pursues an artistic practice of searching. He reworks seemingly incidental objects from everyday life into reduced versions of their form. The objects that interest him in this context are not bound to a specific period; instead, they are so central in terms of their function or use that they live on through the ages without any particular attention being paid to them. The temporal shift alluded to in the title draws our attention to the fact that every object, however trivial it might be, could become an archae-ological find one day and be interpreted as a remnant of a past age.
“Fossilised Sound” presents the negative impression of a triangle – unexpectedly cast in plaster. The instrument seems to be preserved in the impression; however, its tone resonates only in the imagination of its viewers. This rudimentary instrument reflects the formal idiom of Christoph Eisenring’s art: if the ex-pression of the triangle has actually been reduced to a minimum, the exact moment of its sounding has to be precisely articulated by musicians. The resulting sound is associated with orchestral music. At the same time, it has long since slipped its way into the hectic bustle of our everyday lives: it marks the mo-ment of messages’ and reminders’ arrival on our smartphones – all over the world, millions of times, right this instant.
The work “Mute Gear” is a cube-shaped box whose inner surfaces are made of mirrors. Its interior con-tains a plaster cast of a gear, whose diameter is identical to the width of the box: as a result the plaster form touches the mirror on each side. If we look into the box, we see an infinite series of reflections of the gear, whose teeth will never interlock: a thought experiment presenting the infinite impossibility that the reflected teeth could ever cause any movement. This contradicts the gear’s association with the heavy work of a machine accompanied by screeching iron. As a symbol for the absence of any prospect of movement, the gear is damned to eternal silence.
This sphere is made up of sugar and salt that have been pressed into a form and sanded down in a la-borious process – the resulting materiality of the final product is more reminiscent of fine stones like mar-ble or alabaster than the most fundamental elements of our food. The opposition between sugar and salt and their combination has been incorporated into the title: “White Dwarf” refers to the name for the final stage of a star which has become many times smaller than itself. In the process, enormous pressure con-denses its mass into a little point in space – until, one day, it burns out completely. Perhaps the standing “Grain of Rice” on a black ground is an expression of this.
The results of Christoph Eisenring’s constant search for incidental peculiarities converge in this exhibition. At this point in time, they are past and concluded observations and explorations of objects. They are reduced, subtly altered or remodelled in terms of their definition in such a way that they stimulate new mental processes.
Returning back to the notion that future researchers will come across these artworks – for them, the search would begin all over again in the classification and interpretation of their finds.
Nina Arnold, October 2021