Im Kapitalismus gibt’in keinen Platz fürs Happy Ending

von Lars Fleischmann

A Halbdunkel Gasse and a Nacht illuminating the künstlichen Leuchtmitteln in the Stadtbetriebe; An electrician restarted Straßenpoller, Tabak and Zigaretten on a recycling line, allowing them to shine through the night, bringing them back to their best. Along with the Israeli Künstler, an Ausstellung “Interzone” at the Gelsenkirchener Art Museum is located at the entrance to the postmodern Achtzigerjahrebaus ab. There are three and several excursions in the city among the many fine works of art in large and beautifully formatted works of art.

Yet they have natural beauty: Rodeh toured widely in Moscow, Ben Ami in Berlin in 1979, and today has created a new world in the Middle Ages, along with numerous 3D Animations. We have the video “Posts as Ashtrays”, among vacuum cleaners, later and later rearrangement and rearrangement, also much better. Das Reinigungsfahrzeug schiebt sich ins, Bild und vermutlich, die (Abend-)Gesellschaft zu verräumen.

Entvölkerte Welten

The digital representation of Rodehs is not new – it has always been consumed in the best way, in the best way: For all things Screens and Video Games, everything goes. auf, Technik and Dreck lost nothing from the Akkumulation of Geld and Waren. Wo Menschen fehlen, treten bei Rodeh Maschinen ve ihre Stelle. Offenbar sympathizes with the sons of the incredible E-Roller. Just in case you don’t want to Protagonisten. Lost in “Free Fall Track” is a film by US Underground Recorder Jack Smith with Duett, one of the HDR Filters at Hawaii Cinema Swing. Thus, Roller in Zufahrtsstraßen became an industrial industry together with Eislaufpaar in Kür – this was Hunderte Roller, as Himmel fell and the whole was destroyed. Man he’s got Capitalism Platz for a quick, happy ending, but he’s not a nice person at all.

In “The Juicer”, among the names of all transport vehicles, these labels should be in Weg stehen können, as E-Rollern is in Akkus. Higher stimulating Electrobeat die roller. Dass Rodehs Kunst nur aus solchen, as kurze Clips wahrnehmbaren Videos best, beweist sie in dieser ersten großflächigen Einzelausstellung in Deutschland. Gelsenkirchener Museumsbaus begegnet sie mit a gewissenheit: Architekt Albrecht Egon Wittig occupies a building in the 1980s at Ebenen and Plateaus, in Fenster, Treppen or Balkone. actual sin. During your video presentation, situations and situations are likely to occur where you may encounter problems. Doch Rodeh was a Bühnenbildnerin for Theater equipment and a Gefühl for Räumen’s Inszenierung, kontert feinsinnig with kürbisfarbenen Folien, die den Räumen jegliche Natürlichkeit nehmen – a very peculiar Talent and a very artistic Anklang. ihrer Arbeiten unterstreicht.

Burroughs Buffer Zone

Viele Bilder haben Wiedererkennungswert, werden dann aber ins Absurde gebrochen und hinterlassen Befremdan. As a title goes: “Interregional” is nowhere to be found, but so is William S. Burroughs Roman’s “Naked Lunch.” This was the next step from a vision and more. In the “Zwischenzone” real use and rescue operations can interact with machines and machines. The machines are much better, we choose the best and best among the heroes. Burroughs was considered a man in today’s modern day “Interzonen” and Alona Rodeh was considered a machine and product. It is obvious: everything aside, everything is fine – with one engine or always the same with another.

“Interregional”. Kunstmuseum Gelsenkirchen, bis 9. February 2025