Borrowed Alibis

„Borrowed Alibis“ is referring to the (supposed) hyper personal, or the what seems to be charged so object relating to the private space, personal histories and intimate affection. They seem to avoid safety of a purely conceptual argumentation, minimalist aesthetical forms and a safe discourse that is solely based on quotation of current intellectual style. They are works that seem somewhat obsessive in both personal narration as well as materials they use.

APT artist Marc Bauer is participating “Borrowed Alibis” an exhibition is bringing together artists and works that „use“ objects, materials or settings that suggest intimacy as a form of narration that is ambiguous, irritating also in what seems at first their lack of distance and refusal of the omnipresent alienation both between art work and author but also art work and audience.

Marc Bauer’s presents large pencil and chalk coal drawing that depicts an imaginary totalitarian architecture on the verge of collapse. Like many of his works of landscapes such as mountains, island or architectural settings, „Triumph“ reads as a representation of an idealized rather than realistic mental space. Often relating to cinema as a reflection and juxtaposition of cultural debates, „Triumph“ evokes Leni Riefenstahl‘s famous „Triumph of the Will“ (1935) that chronicles the Nazi Party Congress in Nuremberg- a city that also stands for the attempts to juristically and morally clarify the fatal consequences of the same regime a decade later. Bauer‘s „Triumph“ therefore can be interpreted as a symbol of human struggle for control and the failure or perversion of the very same.

Artists:
Josh Faught, Klara Lidén, Steve Bishop, Tom Holmes, Marc Bauer, Steve Bishop, Josh Faught, Tom Holmes, Klara Lidén, Megan Francis Sullivan.