|
description
|
In Jenni Tischer’s exhibition Pin at mumok, minimalist sculpture’s vocabulary comes up against the history and practice of
textile work. Reminiscent of unrolled scrolls, situation-adaptable, and colored “fabric pedestals” cut across the room. Interlocking
walls and floors display several sculptures: open cubes that feature “Viennese netting” like Thonet chairs, and objects whose
materiality or form alludes to weaving frames and pin cushions. Unlike conventional exhibition setups, Tischer’s arrangement
leaves the question open about what is part of the display and what is an artwork. Instead, display elements such as pedestals
or frames form an integral part of the narrative. Pin addresses fundamental questions: What is a medium, and what kind of
information can it convey? How are work processes inscribed in materials and surfaces? And why do textiles, as a field of
discourse and practice, have momentum in the digital age? In-between “pins” (needles) and PINs (personal identification numbers),
Tischer’s exhibition stakes out a realm where questions of the memory of materials and the encoding of identities are equally
considered.
|
