Die Amethyst, Die Opale, Die Agamemnon
6 August – 10 September, 2017
image credits: „Blätter für Kunst & Literatur. Herausgegeben von Franz Blei. Der Amethyst.“
curated by Maurin Dietrich.
A bedroom made public. To paint the naked female body without the need to exhibit a man, one used to depict the female interacting with animals. The viewer, a man, staring back at them, fully dressed. One witnesses the meetings of many different stories here. Or maybe we encounter the brutal beginning of storytelling all together. The rape of Leda by the god Zeus, a „A shudder in the loins engenders there ,the broken wall, the burning roof and tower“ describes Yeats and after that: silence. Leda will give birth to Helen of Troy, the woman over whom the Trojan War will be fought. In ancient Greek mythology—and in Yeat’s poem—Leda’s rape is taken as an indirect cause of war. A war that brought the end of the ancient mythological era and the birth of modern history. Histories and fables like König Hirsch by Carlo Gozzi, about a child abandoned in the forest who returns to a lost kingdom, about transformations and human forms. And what are the stories we tell ourselves? Is it the woman with three breasts that you think about while making love at the beginning of the 20th century a copy of “Der Amethyst/ Die Opale” lying next to you? Is it the weight of a body that used to sit here both being looked at while staring back at you?
Oscar Enberg (b. 1988, Christchurch) lives and works in Berlin. Recent solo exhibitions include: troubles de la croissance (der ursprung des pendels), Auckland Art Gallery Toi o Tamaki Sculpture Terrace, Auckland (2016); the prophet, the wise, the technician, and the Pharisee, Artspace, Auckland (2015); Sire So-and-So or Richard Pågen, Johan Berggren, Malmö (2014); In 2015 Enberg participated in the group exhibition Les règles du jeu / The rules of the game at Centre Pompidou, Paris. Earlier this year his first short film Red Beryl and crocodile, Opal (Irrational Exuberance in the White Man’s Hole) was presented by Hopkinson Mossman in the Statements sector at Art Basel and he is a recipient of the ars viva 2018 prize, which includes exhibitions at Kunstverein München in October 2017 and at S.M.A.K in Gent, Belgium in the 2018 European spring.