This humorous guarantee both acknowledges the absurdity of time management and relishes in the imagination of what remains unknown: the future, the time, the tangible. In this sense, Rosenman challenges the value of time and its imbrication with memory, identity, and the body. We attended the vernissage on 11 May and asked the audience, what’s your hot take?
HOT TAKE 1: I like how the sculptural works were presented, the idea that you can close it and open it. I didn’t understand so much the others had something to do with time and the whole idea about the exhibition is about time and nostalgia.
HOT TAKE 2: The figures become less individualised when she is portraying them from behind. It becomes more about the idea of a person rather than the faces, which can become disturbing. It can be anybody. Even this man in the boudoir, gives some idea of a person who doesn’t belong and you don’t know what is he doing there? He’s out of place but if he’s sitting there you think, well maybe he has some business there after all.
HOT TAKE 3: It’s this kind of question of contrast…between the people facing us and the people from the back. These people in the crowd, one on top of the other in multiple layers. It’s kind of shiny yet it’s rough at the same time. There’s also a contrast in the position between nostalgia and a kind of living in the moment.
HOT TAKE 4: The rooms feel so different, I almost thought it was a group show. Having said that, the messages written on the metal sculptures goes so much with the photos that it still feels like the same artist. Some of the faces feel like they have been manipulated, but it’s also a sign of the times to assume that, because it could also be a glitch in the development of this old photography.
HOT TAKE 5: Something about it reminds me of my grandma. We can always have these intellectual angles we dissect about things, but when it reminds you of something personal, all of that goes out the window and that’s the power of nostalgia. I like that you can’t see the faces. I wouldn’t take a picture from strangers from the front, but when it’s from behind it’s not as invasive. There’s also an openness to the image because you can project your grandmother or anyone else onto the image. It provokes you more to use your imagination.
HOT TAKE 6: This pink one in the boudoir feels like looking inside someone’s body. It’s all pink and fleshy and skin-coloured. Also, who sits on their bed that way? It’s so curious and confusing. It makes me want to make up stories about him. He’s thinking about his childhood. The mother is dead, and now he is sitting on her bed thinking about her.
HOT TAKE 7: This upside down one is my favourite. It shows the image from a different position, turned around as if a spirit or something lifted up the subject. You can see that the point of view is from a normal height person, otherwise you wouldn’t have this reflection.
HOT TAKE 8: There’s a mystery there. I think it’s very successful. I’m familiar with her work already and she has produced something unlike anything I had seen before. These so called “golden insights” on a level of wisdom and an exploration of eternal beauty, magic, and so on. On the other hand seeing them from behind is this kind of unavailability. Availability is always important because it helps to define art. Like I said I’ve seen her works before but never to this verbosity and with this much professionalism.
HOT TAKE 9: The metal plates have an organic Sachheit1Designating the “thing” , i. e. the objectivity created by the intellect or produced by the understanding, whereby appearances are related in the intuition. It is the pure “something” or “thingness” of all things, to which no predicate can be assigned by definition.
Haze Gallery
Bülowstrasse 11
10783 Berlin
more information here
