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NIKLAS GOLDBACH EXHIBITION VIEWS PUBLICATION (Download) The exhibition magazine as a free bilingual PDF can be downloaded here –
Editor: Inke Arns |
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EXHIBITED WORKS
1. 1550 SAN REMO DRIVE 2. INTO THE PARADISE MACHINE 3. TODAY ON LUMEN 2000 4. THE WORLD 5. A DATE WITH DESTINY 6. PARADISE NOW 7. PERMANENT DAYLIGHT
"Day 7", Group from the series “Permanent Daylight”, 76,4 x 176,6 cm, 2024
"Posterity”, Group from the series “Permanent Daylight”, 76,4 x 304 cm, 2024 8. A STATE OF HAPPINESS Mixed Media Installation, 12 Digital Prints on chipboard, cable straps, 6 metal hoardings
PERFORMANCES
INTO THE PARADISE MACHINE
NTO THE PARADISE MACHINE PROGRAMM FLYER HMKV WEBSITES EXHIBITION VIDEO PRESS REVIEWS “The exhibition at the HMKV presents the promises of salvation of this well-oiled ideological paradise machine in neutral and thus reveals its repressed historical-materialistic flipside in all its brutal banality.” Thorsten Schneider, KUNSTFORUM International, Vol. 297 August 2024 “This desolate landscape in which Goldbach’s photographs—either framed or fixed on soft board—act as interior decor or outdoor messages is disturbing enough, even more so when we realize that it’s pristine. It lacks any trace of past human presence and feels like a social experiment in the making.” Krzysztof Kosciuczuk in Camera Austria, Nr. 166 “Daniela Berglehn: 'What is paradise for you? Niklas Goldbach: 'That's difficult. I think we look for the untouched, we feel that the unshaped is a paradise. But there is always the desire to create. And great things are created. It's a dilemma. The longing, it doesn't stop.'” (03 April 2024, Daniela Berglehn in conversation with Niklas Goldbach, Monopol Magazin) “It‘s clever how he puts a work from 2022 about the Center Parcs, which are widely spread throughour Europe, into the focus of the exhibition. [...] Goldbach‘s perspective remains neutral, but in all works it becomes apparent that there‘s a fine line between Utopia and Dystopia.” kunst:art Nr. 15, May/June 2024 “For a while now, Schneider has been doing soundtracks for movies as well, and for that reason the choice was very simple to include him into the the video work “INTO THE PARADISE MACHINE”.” Niklas Goldbach‘s interview with kaput-Magazin (29 April 2024, kaput)
“Utopia meets Dystopia. The exhibition poetically stages the correlation between high-level aims and inevitable decay.” (08 April 2024, trailer ruhr) “Goldbach explores resorts all over the world with his camera. [...] But the bitter realization of the exhibition is this: paradise can neither be bought nor be built.” (08 April 2024, WAZ) “Paradise is a building site - at least that's the impression that visitors to the new exhibition by Hartware MedienKunstVerein (HMKV) in Dortmund's U Construction fences and palm trees line an exhibition route consisting of wobbly walls. And paradise? It stands on at least as shaky a foundation. [...]Goldbach's paradise is a paradise without a net and with a false bottom.” (31 March 2024, Nordstadtblogger) “Paradise is empty because the season hasn't started yet. The Center Parcs bungalows lie deserted under bare winter trees. The camera moves across the standardised facades, later through the standardised bedrooms and kitchens. This is what the tourism industry's promise of happiness looks like.” (26 March 2024, Westfälischer Anzeiger) “The artist, who was born in Witten in 1973 and now lives in Berlin, deals with the beautiful but also dark sides of architecture in his photographic and video works and has also designed the exhibition architecture on the third floor.” (21 March 2024, Ruhrnachrichten) "How do people imagine paradise? If we leave out the biblical idea of the Garden of Eden for a moment, a South Sea island with a blue sea and white sandy beach will certainly often appear in the mind's eye. In his work "A State of Happiness", Niklas Goldbach takes real images from the real bathing landscapes of Center Parcs and lets an artificial intelligence (AI) process the images. Surprisingly, the AI quickly turns the paradisiacal dream into a ruin. Decay is apparently always included in the calculation." (16 March 2024, Ars Tremonia) Niklas Goldbach’s The Paradise Machine might be read as an image-based study of how objects define the dreams and ambitions of both today’s users and their past makers. The main protagonists of the exhibition are half-finished structures and lonely, discarded edifices, depicted in razor sharp photographs and slowly unwinding video works. Their human owners and caretakers are absent: their voices – mediated through quotations from diaries and letters – being the sole, faint traces of their activity. Who constructs whom in this dynamic? (Most Magazine / mostmagazine.org)
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