Parallel Lines, solo exhibition at Teapot Gallery Cologne

AMIR FATTAL Parallel Lines

Opening: Thursday, Nov. 7th
Address: Teapot Gallery, Herwarthstr. 3, 50672 Köln

Teapot Gallery is pleased to announce Parallel lines, Amir Fattal’s third solo exhibition with the Gallery and the pre-realse of his first solo catalogue ‘Shadow of Smoke Rings on the Wall’ with contributed essays by Dr. Heinz Stahlhut, Ludwig Seyfarth and Nimrod Reitman Published by DICKERSBACH KUNSTVERLAG with the support of the Culture Department of the Berlin Senate.

The Israeli born artist seeks to explore the relationship between the modern art story and it’s parallel Political History. Fattal investigates these themes through a series of installation, that combine materials form archives and foundation. A source that serves him for information as well actual material for the installations.

Excerpt from the article by Ludwig Seyfarth from the aforementioned catalog:

The 20th century, modernity, always carries a double face for Fattal, not least the face of war. The artist not only follows the trail of Albert Speer, but also in 1936 – Double Speer and 1943 – German Village that of Erich Mendelsohn, who was perhaps the most prolific architect in Europe until 1933. In Berlin alone, he designed numerous large building complexes. As did Speer later with his Lichtdom, ‘built’ from grouped headlight beams, Mendelsohn was experimenting in the 1920s with a less monumental, more immaterial architecture in which space was articulated by light. A Jew, Mendelsohn emigrated to England after the Nazis came to power, then to Palestine, and later the United States. In 1943 in Utah, on behalf of the US army, he built life-size versions of typical Berlin tenements, which were then used to test the effects of explosive and incendiary bombs on this particular type of building. The experiments served as preparation for the American bombing raids on Berlin.

We see how Amir Fattal’s image projections always lead to an echo chamber in which history is not only a continuous trail of destruction, as Walter Benjamin described it, but also, and above all, reveals its irony. Or is it no irony that an architect displaced by Nazis helped prepare the ‘ruin value’ of the German capital moulded by his own buildings, which at the same time prepared the end of Albert Speer’s architectonic dream of a thousand-year Reich. Everything that Amir Fattal presents in his images and installations has a double face whose contours are sometimes clear, sometimes only dimly recognisable like the traces of memory.


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