FORT
Invitation to Love - a groupshow curated by FORT
19.09. – 01.11.2020

Some artistic questions, motifs and aspects appear again and again in art and in individual artists. Sometimes this is deliberate, even directly intended, sometimes perhaps unintentional, subliminal, like a pattern or handwriting. Characteristics of the works, actions and exhibitions of the artist duo FORT include aspects such as twin motifs or interstices, blurred transitional situations or floating equivalences.

Invitation to Love is the first exhibition project in which FORT acts as a curatorial team and brings together a subjective selection of works by friends and well-known artists. The exhibition title alludes to a television series of the same name. A soap opera, which in turn ran within the US television series Twin Peaks by David Lynch, which achieved cult status in the early 1990s. A show within a show, in which, according to the artists’ preference, twins play a leading role.

However, Invitation to Love is not just a declaration of love to David Lynch and his series, but also a respectful, affectionate invitation to the participating artists to take part in a joint exhibition project. The selected works deal with love, illusion, togetherness or the subtle relationship between things in an obvious, felt or figurative sense. But the works themselves also relate to each other and invite the viewer to draw connections and decipher possible meanings. The work Buried Earth Motors by Sebastian Jefford, oversized keys that open doors and gates, whether to an inner life, a stranger or the painting by Christoph Blawert, who is represented with several small-format pictures, including a keyhole. In Yesim Akdeniz’s painting, chairs enter into a strange relationship with each other and form a surreal psychogram like unknown representatives. In Anna Jandt’s installation True False and Random (Riddled with Advocaat), empty chairs are also placeholders, but this time for a speed dating situation in which the illusion of the solvability of emotional components is distributed across three tables like a riddle. There are two roses on each table, one real, one fake and yet deceptively identical like the twins in Lynch’s soap opera. Duplication and relationships run through the exhibition and yet are never repeated or the same. Connections are made and yet the works stand alone.