Picture is colder than loss of life in David Moser’s, “Corpse and Mirror.”

Hellbent on withholding, two screens tentatively kiss their reflections, and as in an indirect mirror stage delivered by the sound of kids’s programming, the pictures are mirrored infinitely in black mirrors, consumed, concurrently reproduced and excavated of their wholesomeness. The madcap trauma loop of Tom and Jerry runs infinitely within the periphery, them berserk doubles at all times looking, a poisonous relationship which might by no means finish as a result of with out one another they’d stop to exist. Moser takes nostalgia and exhibits its cruelty, utilizing sentiment as materials to chop. The 2 screens face the partitions, in keeping with corporeal strategies for varsity self-discipline. Their grasp type alludes to displays which frequent the sort of public area the place crowds are made. The abundance of visible deprivation assumes a approach to an incomprehensible passage, the place seeing shouldn’t be believing. This tunnel is also referred to as loss of life.

As in Respiration Holes, consisting of a collection of holes incised into the wall, the sample appropriated from industrial design, often discovered piercing metallic planes. Putting in the holes on a home presenting wall makes you consider different grates which dwell in our homes, different lives and locations, which seep by means of the partitions, as in a peculiar scent, which one experiences unaware if the neighbor has cooked badly or just died. The holes replicate on a panel on the ground, eponymously titled XS, eternally confronting one another in a vacuous stare. The works counsel one other place the place the picture is obscured, the senses past sight are heightened, to indicate what can solely be seen at nighttime.

—Alex Thake

at Neue Alte Brücke, Frankfurt
till March 28, 2023