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Der Kopf ist rund, damit das Denken die Richtung wechseln kannGalerie Brugger

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temp / Kiyomi + Tetsuhiro Uozumi, Coco Schütte, Esther Hunziker, Jesse Siegel , Trystan Williams

A group exhibition about purity, hesitation, the conversation we imagine and the connections we want to make.
On the title. I borrowed it from Kiyomi and Tetsuhiro Uozumi, who made a piece by that name during a residency in Berlin: ten black dog sculptures, each with a speaker and a bulb, built from interviews in which the only rule was that people could answer only in barks. "The barking has no vocabulary and no grammar," they write, "yet tone, rhythm, breath, pauses, and hesitation carry traces of the person behind it. The original stories remain inaccessible; what is left are fragments of voice, character, and presence, from which each viewer may imagine what was said." I read that and thought: this is the whole exhibition, already written.I keep thinking of Diogenes too, who answered men throwing bones at him by pissing on them like a dog — unashamed, entirely on his own terms. Coco Schütte found the same fragment of history and pasted it into her own collage, next to a photograph from 1910 captioned, with a bluntness history rarely allows itself, Parisian Pisser. Old shame, set beside what it was always aimed at.Elsewhere in the room, Trystan Williams engraves an overheard exchange into stone — a dog, answering not with a bark but a verdict, wiser than whoever asked. Esther Hunziker's Electrical Friend watches from the wall, a face that looks like companionship but is, visibly, just a current. Jesse Siegel prints the vents that hotel corridors are built to make you forget, rendered closely enough that forgetting becomes impossible.None of these five agree with each other, exactly. They circle the same question from different distances: how much of what we call connection do we supply ourselves. I don't have an answer. I don't think the exhibition wants one either.
— Text: wumen ghua











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