12 Ultrachrome K3 prints in 13 x 18 cm brass frames, 22 blueback prints of varyiing size on wall, 2017
Warte für Kunst, Kassel 2017
The first thing that struck me was this title. It seemed almost as if someone slipped on their keyboard. I‘m confused. There are appropriated maps showing the same part of the world. To be exact the south sea. To be even more exact New Caledonia. They show the first island that was undiscovered.
Sandy Island found its way 1792 into map material. And it stayed there up until about 2012. Geographers nowadays are not sure whether the island actually existed or not because there have been multiple explanations for its existence.
Some people presume it has been used as a paper street. A copyright trick used by map producers to make their maps fully original by inserting a fake.That way they could figure out if there has been a copyright breach of their material by one look.
There has been a vivid debate whether Sandy Island was merely a sand bank and therefore just marked as shallow waters or if global warming had an effect on the disappereance of the island.
Walking through Rudi Weissbeck work it develops a narrative quality. At home I grab my own school atlas and see that this island is in there. And walking through the work you see there is more and more proof of the purpoted existence of this island.
There is this trope in narrative fiction of the forgotten land. The lost island. Holistic fantasies and narratives in our everyday fictions. Explanations that do not allow any other truths. That assert and imply totality. Growing up you do not question your atlas, the norms it produces or the image it builds up in your mind.
Rudi Weissbecks work opens up an opportunity to dwell on the meaning of images and the values they produce. Walking through the ever repeating
reiteration of the existence of the non existing Sandy island you start to notice other parts like clockwork in front us.
Small paintings created on the computer and framed in brass frame start to frame with their empty back Sandy island. Talking to Rudi he mentions that he was part of the painting class and thinking about the possibilities of painting nowadays. Classical painting is completely analog. He painted on the computer.
Sketching out paintings on the computer in order to paint them. Developing one picture after another based on a crop of the previous picture drawn picture. The paintings started to build a cycle in which each image refered to its predecessor. They have an indexical connection.
No longer concerned with painting these sketches and not wanting to become his my own printer he started to understand the sketches as works
themselves. The use of brass points to its use as an old navigational material. These paintings felt more factual and real than the maps. They make you question what constitutes the real. What constitutes the empirical and what constitutes trust.
Because you have to have trust. Otherwise you would be lost at sea.
· Ignaz Dux
© Rudi Weissbeck – All rights reserved.