Original exhibition invitation (recto)
Is it pieces of furniture or abstract toy horses that are scattered everywhere as white sculptures? Is it music or a confused background noise that comes out of a loudspeaker case, alienated and chopped up? Is it a picture distortion or an extension of our usual perception that flickers in brown stripes from the video screen? Are the drawings on blueprints simple copies of everyday motifs or original discoveries?
The transitions between things and disciplines are fluid, and one never knows whether one can trust the superficial. You can sit on the white sculptures, swing, fall. The chopped up music style challenges the memory and the desire to somehow combine the sound fragments into a whole. The blueprint drawings drive the motif into mystery through doubling and folding.
The poet demonstrates with the movements of his voice and hands that the words always have a body. And the video screen actually produces images at the touch of a button. You can see people in aprons and masks - scrape the last bits of paint off the floor in an art academy; images pregnant with meaning that nevertheless remain as open and tough as the previous flickering of stripes.
This exhibition lets us speak of modern barrenness or modern radicalism, of cool playfulness or provocative brittleness. Karl Holmqvist's and Tobias Gerber's White Noise is too little art to enchant pleasurably, and too much art to simply overlook – so you have to do something with it.
– Kölner Stadt Anzeiger, 21 September 1995