Meisenberg’s third solo at Wentrup covers the walls of a large bright room with canvases of different shapes – circles, arches and teardrops – each evoking a window or an icon from afar. Lines on the beige-backgrounded paintings create vague spaces within them, and in the foreground are abstracted symbols, cartoonish clouds and figures and even planetary forms.
A 30-minute video shows banal tennis court scenes, and scrolling on top of it in large white letters is a meandering monologue from a secret recording of a banker complaining on the phone as he commutes from New Jersey to Wall Street. In front of the video is a white carpet, and more words are projected onto it, detailing confidential content including Hillary’s leaked emails. The exhibition text reveals that the font was extracted from WikiLeaks docs.
The problem here is that the connecting points between all these intriguing elements seem just out of reach. We recommend you try and decrypt it, but you might leave with more questions than answers.
“Um, nice guy, good hospitality, but.. y’know (…)”, Sep 10-Oct 19 | Wentrup, Tempelhofer Ufer 22, Kreuzberg, U-Bhf Möckernbrücke
