Jann Holstein in his studio, 2020, photo by Dietrich Brüggemann
EMERGENZ
A solo exhibition by Jann Holstein
Curated by Amrita Dhillon
November 6th - December 15th
Karl Oskar Gallery is proud to present “EMERGENZ” — a solo exhibition by Jann Holstein, featuring a series of paintings that deal with the subject of myths, stories and conspiracy theories. The title refers to emergence theory (attributed originally to Aristotle), which describes the dynamic quality of systems whose elements, through their interactions, generate entirely new structures. Our collective capacity for meaning-making may be described as an emergent process through which narratives emerge from snippets of history and memory. In his work, Jann Holstein explores the possibilities of new meanings that emerge from the gaps and empty spaces in our stories.
As much as conspiracy thinking permeates the current political climate and represents a formidable force in our public discourse, it is hardly a new phenomenon. Fantastical stories have deep roots that stretch far back into human history — evidence of the human need to make sense of the unknown, faced with events and processes which are too complex to fathom. In some ways questioning and suspiciousness may be part of the human survival strategy and ingrained in our DNA. From the moon landing to the Heaven’s Gate cult, Jann Holstein’s paintings deal with the big stories that have provided fertile soil for our collective imagination. They captivate us because they are opaque to us, full of blind spots and dark corners where ideas are born. In these gaps, where fear and fascination mingle, new perspectives emerge.
Holstein’s unique painting technique involves the pouring of oil and water-based paints on the canvas, which through their interaction create an organically formed, textured background. A digitally composed image is then applied with oil paint over this background of abstract forms. The background, which is only partially painted over, peers through half- dissolved motifs. The images that emerge from this process are fleeting and nebulous in nature; they appear like old photographs that have become partly unrecognisable due to a process of natural decomposition. Holstein’s finely painted figures barely conceal the turbulent drama of paint resisting paint unfolding in the background. The paintings featured in the exhibition include references from a variety of historical epochs; by extracting them from their original photographic context, we become distanced from all of the associations we have with iconic historical photography. Strong colours and harsh contrasts oppose the historical and firmly place it into the here and now.
The exhibition features a series of paintings dealing with the tragic sinking of the Titanic in 1912. Widely considered ‘unsinkable’ by contemporaries, the disaster sent a torrent of shock and confusion as the unimaginable came true. A number of theories sprang up, ranging from the deliberate sinking of the ship, to the idea that the ship didn’t sink at all. Survivors were forced to invent stories regarding their rescue in order to avoid accusations that they had snuck a place in the lifeboat at the expense of others. Holstein presents a series of portraits, depicting passengers who survived the sinking, and those who intended boarding the ship but never made the journey. A small painting titled Berg is based on a supposedly authentic photograph of the iceberg which brought the Titanic down — one of many photographs that claim to portray the original.
Holstein also explores the superstitious power of celestial objects, particularly of the comet — an object which has been associated with both auspicious and ominous predictions, and whose symbolic power has been harnessed by religions and cults throughout history. As recently as the 1990s, the Heaven’s Gate Cult engaged in ritual suicide coinciding with the appearance of the Comet Hale–Bopp, with the hope of being transported to heaven on a space ship.
Also included in the exhibition are a series of works that deal with the first moon landing, an event that represented victory in what was arguably the greatest race of the 20th century. It also generated an entire industry of books and websites that deal in every flavour of conspiracy surrounding the event. Holstein’s paintings of astronauts explore the symbolic power of images in the media, and the attempt by conspiracy theorists to question the veracity of such images.
Text by Amrita Dhillon