“Humankind discovers its own origins—it discovers digitality! And then all of a sudden the flesh disappears and the world becomes an enormous set of conventions.”
A former master student of Rosemarie Trockel at the Düsseldorfer Kunstakademie, Carolin Eidner breaks with some of these conventions in her first solo exhibition at Pop;68, Conceptualising Flesh. Instead of using the entire exhibition space, Eidner concentrates on a central position: four individual images suspended on metal rods form a diagonal line, dividing the gallery space and causing the gaze to accelerate along an aligned axis. For Eidner, it is not only what is depicted that is central, but the context, too. This is also provided by the artist: “No heaviness of substance around us—everything is shimmering and we are part of the whole! Now we know that something that vibrates is a tomato, a bird in the sky, shit in the bowels, the flesh beneath our skin, a rooster among the chickens.”
