Exhibit News: Truppe Fledermaus, The Carnival at the End of the World
At the Carl Hammer Gallery is what looks to be a stunning, interesting and inspiring show by the collaborative duo Nicholas Kahn and Richard Selesnick. Titled “Truppe Fledermaus & The Carnival at the End of the World,” the artists’ imaginative series utilizes photography, painting, drawing, prints and sculptures – in their visual narratives. The Truppe Fledermaus travels to abandoned sites to perform for nobody, dragging vintage props and costumes that might have been designed by Bosch. Bats on their way to extinction line up to jump off a cliff like lemmings.
Opening Reception: Nov. 7th, 6-8 pm, Exhibition Dates: Oct. 31st – Dec. 31st
Inspired by Italian philosopher Giulo Camillo’s 1550 Memory Theater, “Truppe Fledermaus” tells the visual tale of a chimerical cabaret troupe traversing the outskirts of imaginary and recognizable towns where their inscrutable performances play repeatedly for no one. Dressed as bats, greenmen and death dancers, Kahn + Selesnick’s characters only perform for the resident animals and themselves. As a metaphor for contemporary society’s on-going disengagement from the larger world while being bombarded with massive quantities of cultural information, Truppe Fledermaus similarly travels on, prolifically advertising its performances for plays never seen. A cast of characters led by Truppe founders, Orlofsky and Falke, along with Madame Lulu, the Plague Doctor, the Green Wanderer and 1970s British television character Reginald Perrin share the series storyline with Birdmen as messengers and the endangered Bat as the shaman. The bat represents both nature and humanity as it struggles to see itself as inextricably linked in order to change its course before their disastrous fate of extinction is sealed.
In “Truppe Fledermaus”, as in past series, Kahn + Selesnick’s playful, yet portentous mix of characters, time periods and genres purposefully blur lines and allow for suspension of disbelief while creatively illuminating societal shortcomings. Through their signature cinematic approach, the artists present the engaged viewer with seemingly inexhaustible imagery and its potential for metaphor; a manner of experience not unlike the modern world. – Via Robischon Gallery
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