Opening on the of March 18 o´clock
+++ extended until April 28th. +++
From March 12th until April 09th.
visiting hours: every Wednesday 17-19 o´clock

My Favo­ri­te Game…
Hakan Eren

Hakan Eren is a sculp­tor who works in a varie­ty of media, pri­ma­ri­ly in the form of sculp­tures, objects and col­la­ges, but also of dra­wings. For the exhi­bi­ti­on at Bau­stel­le Schau­stel­le, Eren has con­cei­ved a com­pi­la­ti­on of objects tog­e­ther with a series of dra­wings. This includes a tri­cy­cle with a horn and an axe bla­de, a type of model that is remi­nis­cent of a stage with spi­der-like mario­net­te con­trol arms or per­haps of a par­cel dis­tri­bu­ti­on cen­ter, as well as a series of dra­wings depic­ting serious Har­le­quins. Eren’s works share the tem­po­ral imme­dia­cy of hand­craf­ted toys that have been pre­cis­e­ly con­s­truc­ted while at the same time lea­ving room for impro­vi­sa­ti­on. Thus oscil­la­ting bet­ween crea­ti­ve playful­ness and the sinis­ter con­trol of mecha­ni­cal neces­si­ty, the­se works pre­sent a logic that is cha­rac­te­ristic of the form of games: games usual­ly have a fixed frame­work of rules within which the free pro­cess of play­ing unfolds. Nevert­hel­ess, the ans­wer to the ques­ti­on of who is play­ing — is it the play­er or the rules of the game — is less obvious than it might seem. Who is acting, who is wat­ching, what is hap­pe­ning? Regar­ding Eren’s dra­wings, they all show child­ren dres­sed as clowns, none of whom look par­ti­cu­lar­ly fri­end­ly or even hap­py. The sad soul of a Pier­rot has never been of inte­rest for its own sake. The­r­ein lies its tra­ge­dy, which only the daf­test roman­ti­cism may dare to indul­ge in. Eren’s clowns, on the other hand, pos­sess a cha­rac­ter of resis­tance that is about to unfold. You might be loo­king at me, but I don’t like what you see; that is why I have my own sore spot, which I think you might be ima­gi­ning wron­gly; just you wait, just a litt­le lon­ger… Then the­re will be tri­cy­cles with an axe, and we’ll go to war with the­se con­trap­ti­ons like Mad Max! If it was Busch who set a disci­pli­na­ry memo­ri­al to the naugh­ty child of the 19th cen­tu­ry, it is now Eren who ima­gi­nes the latter’s post-apo­ca­lyp­tic return. When the object beg­ins to speak, the gaze is cal­led into ques­ti­on. Eren’s works seem to make this step the­ma­tic — this step bey­ond all rules, befo­re all rules or the first step after the rules. Ther­eby, the­se works call into ques­ti­on the con­di­ti­ons of a game that has lost its indis­pu­ta­bi­li­ty. They pose the ques­ti­on of a game who­se rules have yet to be determined.