VADUZ.- At the Kunstmuseum Liechtenstein the two artists Eran Schaerf and Simon Wachsmuth present the exhibition Standstill is a Particular Form of Movement. The show in Vaduz at also includes works by Hamish Fulton, Frantisek Lesák, Sigmar Polke/Gerhard Richter and Heinrich Reinhold.

Eran Schaerf and Simon Wachsmuth focus on issues to do with the borderline between idea and reality, narration and fact, perception and forms of museum presentation.

Typical for both of them is the integration of the spatio-contextual situation into the presen-tation of their installations. Their use of the tools of film, drawing and object is extremely multifaceted and their installations give rise to a complex mesh which draws the viewer into an open narrative and opens new contexts of meaning.

The Kunstmuseum Liechtenstein invited both artists to work together on an exhibition pro-ject. The occasion was the special exhibition Hast Du meine Alpen gesehen? – Eine jüdische Beziehungsgeschichte at the Jewish Museum Hohenems. For the specific context in Vaduz, Schaerf and Wachsmuth have selected Works by Hamish Fulton, Frantisek Lesák, Sigmar Polke/Gerhard Richter and Heinrich Reinhold.

Eran Schaerf (*1962 in Tel Aviv) often works with components of images and words that he separates out of their original context and combines to form something new. For him, lan-guage is an essentially three-dimensional element that supports narrative and poetic en-ergy and permits the layering of different time and narration levels. Schaerf’s works indicate how things, events and ideas are linked in a highly complex way. The airy, transparent installation is also imbued with a gentle and sensitive humour.

Simon Wachsmuth (*1964 in Hamburg) has been preoccupied for some time now with the cultural construction of nature and our experience of it. The exhibition settings he creates, while being reminiscent of scientific experimental procedures, actually dismantle the sup-posed precision of the natural sciences. Wachsmuth’s works seem to be a test of how far he can go with visual reduction and yet still be able to point out complex cultural contexts and constructions.

The many fine strands of the exhibition Standstill is a Particular Form of Movement weave a broad network of reference fields into which the viewers then weave the threads of their own perception. Historical and contemporary social phenomena combine with personal-individual experiences and testify to the complexity of the correlations.