+ Programming + Archives Décades + News + Publications + Support Optica + Info

Décades

Exhibition

Years
1972 | 1973 | 1974 | 1975 | 1976 | 1977 | 1978 | 1979 | 1980 | 1981 | 1982 | 1983 | 1984 | 1985 | 1986 | 1987 | 1988 | 1989 | 1990 | 1991 | 1992 | 1993 | 1994 | 1995 | 1996 | 1997 | 1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 |

Index of artists, authors and curators

| A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | R | S | T | U | V | W | Y | Z |

OPTICA Fonds (Concordia University Archives)

Guidebooks to help in consulting the archives

Electronic Reproduction Fees





Wilmar Koenig
From October 14th 1989 to November 12th 1989
Le bestiaire

The most incomprehensible thing about the universe is that it is comprehensible. How is it that solely by gathering in of electromagnetic beams we have come this far in comprehending the Universe?
- Albert Einstein

Wilmar Koenig has taken his camera and recorded particular existing ambient light situations and in the process revealed to us a multitude of layered messages.

The slight trembling of the hand held camera and the framing of already restraint spaces is the setting for a survey on the relationship man has chosen to have with the animal kingdom. Their statistical portraits whether stuffed or caged are not comfortable images in the presence of social consciousness.

Light confronts us here as one of lifes great illusions as it animates the glass eyes of some of these animals. One becomes movingly aware that the re-constructed configurations of the material of skin and stuffing give us a further superficial reading of the animal’s character of internal reality.

Whether it is the monkey swinging from a brittle dried branch through colourless air or the alive wing clipped marabou that appears to be placed to the ground, the message is the same: Western Man has an admirable ability to keep all of nature at arms length.

Each of the eleven photographs suspended occupies space in three dimensions. These are not post-modernist windows to the world, but silent memorials that have even been deprived of the ancient Egyptians ritual of embalming for the purpose of preserving the animals’ spirit. Their silence sends us back to our conscience revealing more about our nature than theirs.

Even the privileged cat in Edward Hopper’s Night Café style stares into space. But at least the metal grids or metaphoric cages protect us a little from the truth about our self that explodes from these images.
- Yvonne Lammerich, October 1989
- Press release (Optica)

Wilmar Koenig works and lives in Berlin and has exhibited in both Europe and North America.

Bibliographie
Auteur inconnu, « Koenig/ La beauté empaillée », ETC, hiver 1989, no. 10, p. 30-31.
Gravel, Claire, « Les pièges de la modernité », Le Devoir, samedi 28 octobre 1989. C-11.