The physical breaking, separating of an object or material; the site of breaking; a going apart, separation in the broadest sense, of objects, materials, links, unions; anatomy: a bone fracture in humans and animals; [in German] a hernia in humans and animals; not keeping an agreement, contract, deal; the (violent) breaking of a bond; [breakage] synonymous for: broken goods, of diminished value; [breakline] in textile engineering, tailoring: a fold in a length of cloth, or a piece of clothing; geology [cleat]: a fault; [in German]: short for quarry; in hunters’ language: a broken twig; gangster speak, thieves’ argot: a break-in, burglary. (by Andreas Golinski)
(A note on translation: When the German word BRUCH is translated, there are some shifts in meaning, hence there are some explanations in square brackets. Translation by Wilhelm Werthern )
Ory Dessau about Andreas Golinski´s work:
It is important to emphasize that even if Golinski's architectural action is driven by an archival impulse, and it does contend with the inheritance from the past, we cannot characterize the motivation behind the action solely on the basis of that urge, which Ulrich Loock, following Hal Foster, identifies in the architecture-based works of such artists as Rachel Whiteread, Sam Durant or Tacita Dean.1 In Golinski's work there are different tensions. Despite the varying degrees of presence and visibility in this work, when it comes to processing a traumatic past, Golinski does not resort to a demonstration of spectrality or of dematerialization, but seeks to create unresolved reciprocal relations between the physical, mental and historical.
Without using iconographic illustrative means, Golinski creates an experience that connects to the historical through the phenomenological. He doesn't bring the past back to life in the sense we would ascribe to realist or hyperrealist art. According to Golinski, the past cannot be represented by conventional linguistic means, the use of which assumes overcoming or distancing. Golinski - if I may be allowed to draw a general conclusion about representation from this work - refers to the past as something that is present, but that presence itself is awarded a standing of its own in this work, not as the opposite of absence, but as a dynamic situation of appearance and the appearance of disappearance, of potentiality and actuality, in relation to the concrete body. If in the phenomenological conception the reciprocal relation between a work of art and the viewer's physical presence offers a utopian dimension of experience, then in Golinski's version of these relations of dependency utopia turns into dystopia, abstract into concrete, physicality into violence.
1 Ulrich Loock, Builders of the 20th Century, Exhibition Catalog Gregor Schneider, Serralves Foundation, Porto, p. 12
Andreas Golinski 1979, born in Essen, lives and works in Essen.
Solo Exhibitions (selection): 2012 BRUCH, Krobath Berlin. 2011 Anbiederung an die Ewigkeit, Krobath Vienna. 2010 Scholarship Stiftung Kunstfonds. Das Schaben, Van-Horn Düsseldorf. 2009 Notturno, La Rada, Locarno. Lokaal 01, Antwerp. Things Falling Apart, Padova (public work) curated by C. Seibezzi. 2008 It was a long way down, Padiglione d'Arte Contemporanea, Ferrara (curated by A. Lissoni). Lost Dreams (Hochpacker), Viafarini Milan (curated by Milovan Farronato).
Group Exhibitions (selection): 2012 Space Light Architecture / 2. Biennial for international Light Art, Dortmund. Andreas Golinski / Steven Parrino, Nymphius Projekte Berlin. 2011 Berliner Zimmer, Krobath Berlin. 2010 The Berlin Box, Kunsthalle Andratx, Mallorca. 2009 U-topics, 11th Swiss Sculpture Exhibition, Biel/Bienne (curated by Simon Lamunière). Black Hole, Kunsthalle Andratx, Mallorca (curated by Friederike Nymphius).