13.10 — 03.12 2022
WED—FRI, 2—6pm, SAT, 3—6pm 
Also open by chance or appointment 

Curatorial Projects by Pierre Granoux 
Greifswalder Str 34 10405 Berlin 

The German word “Schallplatte” is described in English as the word vinyl record. “Schall” can also mean acoustic noise or echo; “platte” refers to both the disc and can also be understood as a flat surface. The exhibition is titled after the work of artist Karl Hofer who in 1941 created his painting “Mädchen mit Schallplatte”, depicting a girl holding a vinyl record. The work was created at an important moment during World War II, a time when music also took on a different meaning and value. The three artists Tom Früchtl, Catherine Lorrent and Klaus Killisch each present works related to the theme of “sound” or music-making, as well as historical and sculptural references within their own medium. 

In the works of CATHERINE LORENT, a strong connection to baroque iconography can be observed, which includes unframed drawings with electric guitars that are placed on the wall. The works are rich in drama, dynamism, emotional exuberance and tend to blur distinctions that are so common in baroque techniques. Using an electromagnetic control system, the guitars generate a sound that echoes in the space here at LAGE EGAL.The artist has developed a wide range of drawings within this theme, but has also been experimenting as a multi-instrumentalist with electric guitar, bass, piano, drums, voice as part of her music projects for several years. The artist KLAUS KILLISCH is also known for his background and strong interest in music. His paintings are structured almost like a song, combining different techniques such as collage, sampling, text and drawings. This multi-layered approach is expressed in his abstract drawings that respond to the zeitgeist of the moment, encompassing advertising, fashion, photography and vinyls. In the works of TOM FRÜCHTL a playful approach with the tradition of illusionism can be found. The artist presents music amplifiers and speaker towers that are built out of cardboard and jute. The sculpture alludes to fake stage backdrops that were popular at rock band performances in the 1980s. 

Presented side by side, the artworks in the exhibition display a symbolism that is identified by references to historical and contemporary contexts of experimental, jazz and rock music. What resonates here are not only the sounds that echo imaginatively through the space but also the materials in which the works are made, that together set the stage for a new rock band.

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