Katie Armstrong, Olivia Bax, Harm van den Dorpel, Ella Goerner, Miriam Jonas, Alex Lebus, Sarah Rosengarten, Manuel Rossner, Cosima Tribukeit, Andrea Winkler, Michaela Zimmer
SEPTEMBER 11, 2017
18 uhr - 3 uhr
Galerie Tatjana Pieters, Ghent
26.03 - 30.04.17
Opening / Sunday 26.03. / 3 - 6 pm
Given the recent surge in climate change deniers and governments who are choosing to dismantle
existing policies that aim to reduce carbon emissions - instead to concentrate resources purely on
creating more jobs and increasing economic possibilities, Ella Goerner's art couldn't be any more
timely, poignant or relevant.
In part, due to her intensive and prolonged study into various mediation practices, this multi-media
artist has a sensitivity toward, and an acute awareness of the current state of our physical, social,
technological and economic worlds.
But that is not the only thing that feeds her artistic quest. Being born in one of the most idyllic areas
of Europe (Saxon Switzerland National Park) Ella understands what a weighted relationship with
the natural world looks like, and when that balance is upset, the importance of exploring alternative
options to rectify it.
Right from her first solo show Sustainability & Opportunities, through to her project The Subversive
Eco Coin Proposal, Ella has been critiquing our reliance on the current corporate structure and the
world's obsession with production and consumption. She uses the gallery space as a kind of
boardroom to present systems other than our current progress-obsessed, profit-based option.
With her hypothetical business proposals, newly invented eco-products, 'green' brand banners (in
her show After Wilderness) and corporate identities concerned first and foremost with
sustainability, she offers a convincing alternative reality.
This other world that we encounter is made even more convincing with the colourful, hypnotic
digital paintings that Ella collages together. Set in a place that looks as if it is dissolving and
eroding right before our eyes, her jpegs are a glimpse of a future that could be ours, if the global
community (especially the economical one) continues to ignore, or downplay the catastrophic
consequences we would face as a result of global warming and raising sea levels.
She collects motifs and icons that represent our natural world and combines them with suggestions
of architectural spaces. Think vibrant flowers, Earth globes and pieces of minerals suspended in
rooms that bleed and decay into outer space (see room shave and Nuggets).
These images of fragmented objects and items refuse to be anchored in the real world. As digital
representations of something physical, they float somewhere in between the ideas of themselves
and their actuality - much like the series of stagings, or installations that Ella displays alongside
Presented on platforms, these collections of various items (dubbed Resources) act as forgotten
artefacts; objects of exploitation, or memories from different encounters between man and nature.
Perfect roses plucked from the garden of mother nature bundled under hard helmets, recalling a
time of violence. Coloured bits of metal framework and coiled bundles of ropes – these are all
things that are judged as waste, or non-valuable.
So not only do we see these physical objects of the stagings erode into virtual versions of
themselves, but also our very notions of nature, reality and the human-made world start to fall
away. Working with both two dimensional and three dimensional forms, she flits between a digital
and a physical existence, mirroring what most of today's society does unconsciously - jumping
between real-life conversations and an online presence.
It hasn't been more obvious than right now that we need to redefine our relationship with nature
and with technology. And in particular, be more invested in finding and embracing a new, ecofriendly
and non-destructive economy. By transforming the virtual world into the physical (and vice versa),
Ella forces us to question what is natural, what arti ficiality looks like; what is real and what is unreal.
Her work paints a picture of a world where ecology and economy dance gracefully together in a
text by Genista Jurgens
E = in English, G = in German/ in Deutsch
5 Digital Artists Who Are Painting with Pixels, Format Magazine, 2017 E
Real-time temporary forecasting: From “Post-Natural” to “Eco-Contemporary”, Y7K, 2016 E (note: name spelled wrong :( )