IT IS ALWAYS IMMEDIATE.
Text: Konstanty Szydłowski, translation: Brian Poole
Solo show Morgen Contemporary, January 2015.
Xenia Fink translates ambivalent emotional states into pictures that may have many names, and yet cannot be named by any of them. Bodies, gestures, and objects appear on a white background where the lines and figures depicted are integrated into a story. The emptiness lends the sketched elements a particular common existence in the immeasurable space of memory and expectation. The white surfaces seem to act as invisible bounds between the various realities. The scenes depicted have no stage, and yet they reveal a drama. There are two levels of the self. First, as a person or as that person’s body; and second, as objects of desire or of implacable circumstances. In the shadows of longings, lusts, and fears, a dream poetics emerges. The images exercise the power of secrets that you can sense but not solve. The scenes have no materiality to them, but rather a virtuality resulting from the tension between desire and its object. Although the works exhibited here are not arranged in any hierarchy, nor subject to any particular order, they do relate to each other as counter-examples of staged intimacy. The people depicted are involved in a story from which we can see only a moment that reveals neither the story’s beginning nor what happens next. In that instant, something decisive is happening, but we can’t know what direction it’s going to take. The unease sets the image in motion; it also corresponds to the endangered sense of self. Culturally cliché-ridden gestures emerge as fragments of a lover's discourse, and the suffering translates into the still image. Paradoxically, the use of text makes this even more explicit.
The iconic scenes are carefully structured in just a few lines. The line seems to erupt out of nowhere. The fragmentariness correlates with what’s left invisible, and thus two realities flow into one another. The lines allude to the bodies and the objects, leaving much to one’s imagination and showing only what is necessary. In its formal abstractness, the motif of the veil—whether in the form of a curtain or as hair—illustrates, apart from the semantic level, a playful predilection for underpinning the appearance of realism while also posing a question.
“It is always immediate”—which is both the exhibition title and an inscription in one of Xenia Fink’s drawings—signifies that something is suddenly there, something utterly unforeseen. In this sense, the works at this exhibition play upon those culturally coded intimate scenes that always appear unplanned. With each picture a mood immediately forces itself upon us, creating the impression that feelings are there, though they haven’t been developed gradually. It is a matter of an instant that can’t be held on to in real life. That only art can do; and that has become one of photography’s and film’s greatest strengths. It is what these pictures thrive upon.
XENIA FINK – TOO CLOSE TO HOME
Text: Julika Nehb, translation: Brian Poole
Solo show Morgen Contemporary, January 2013.
Compared with painting, the medium of drawing harbours an intimacy that plays out on two distinct levels. Each line drawn on paper is evidence of the closeness of the artist’s hand to his work, testifying to the utmost immediacy between the creative mind and the material. Spontaneity, intimacy and a feeling of authenticity are characteristic of drawing. The awareness of these characteristics makes the spectator an insider, an ‘initiated’ participant in the putative mystery of the creative process. Georg Friedrich Hegel belonged to the devotees of this medium: “Hand drawings are of greatest interest; here you see the wonder of how the artist’s entire spirit has been transported into them by the skill of the hand.”
What gives the drawing its form is the line—it depicts spaces, structures and materials. The ink drawings by Xenia Fink seduce the viewer with their clear technical execution and their perplexingly surreal dream-worlds, which are enriched with allusive written quotations. Reduction, omission and deconstruction are the essential formal features in these tender, concretely illustrative drawings from the series of works entitled Too Close to Home. Closeness that hurts.
Often you find in them a lone outside observer; often the figures face away from each other. Couples cast their gaze beyond each other, female figures hide their faces. Sometimes they’re asleep, or they’re lying dreamily in their beds. A lusty group of evening partiers is depicted with black bars covering their eyes, remaining incognito. The treatment of their themes remains fragmentary in the style of a postmodern narrative. They deal with family, childhood, love and loneliness, with interpersonal and erotic relationships, and with the identity of modern women.
Recurrent elements—particularly the nostalgically rendered interiors, the clothes fashionable in earlier periods, and a female ‘referential’ figure reappearing in most of the pictures—allow the observer to develop confidence and to establish common points of contact. And yet the deconstructed spatial situations—sometimes the figures have nothing but blank space surrounding them—impede one’s grasp of the image and one’s orientation. Communication seems to be rather laborious for most of the figures; they prefer to whisper furtively.
Three leitmotifs unite the series Too Close to Home.
For her series of works entitled L’Éducation Sentimentale from 2010, Xenia Fink framed the figures she drew in the tableaus she constructed. Classical historical dioramas, comparable to traditional puppet theatres, not only had a pedagogical function; they also served to express the desire for better social circumstances. In Too Close to Home the idea of the stage upon which the figures move appears increasingly abstract in the very openly structured space. “All the world’s a stage, and all the men and women merely players.” Within the context of contemporary media and social images in Xenia Fink’s works, Shakespeare’s aphorism for man’s predetermined fate becomes an analogy for our fragile attempts to organise interpersonal relationships and bourgeois lives: “On inherited emotional economics” is the title of one of her drawings. What roles do women play on this stage? They are children, young girls; they’re seductresses or seduced; they’re mothers, daughters, lovers and playfellows. Xenia Fink’s pictorial worlds manifest a female consciousness of our age. The figures writhe as if they were under a magnifying glass, and they simultaneously long for affection. The scenes illustrate the unfulfilled myths of popular culture that are inevitably thwarted by sober reality: “I refuse to spend one more day obsessing about you. I have laundry to do.”
Xenia Fink’s quotations are taken from the pictorial works of recent Western cultural history, from classical fairytales, from boudoir interiors of the belle époque, and from cinematographic images of various sources from Alfred Hitchcock to the American TV series Mad Men. She also composed some of the captions herself. In one scene, Lewis Carroll’s Alice in Wonderland encounters the controversial French “drawer of girls” Balthus: three female figures are depicted lolling about among oversized toadstools or embracing a fawn. One scene is enough to encompass the loss of innocence and the sobering—yet empowering—experience of growing up: “I don’t feel anything but pain. It is a job; it is a game; it is what we do.” In a world of increasingly accelerated change, the quotations—thanks to their essential stability and completeness—assume the role of immutable points of orientation. The quotations and mottos in Xenia Fink’s drawings cannot be—and should not be—ascribed to their original context. The words open up large fields of association.
TIME AND MEMORY
In Too Close to Home, time seems to have been abolished. In addition to the spatial paradoxes, there are also temporal ones. In some of the scenes a slice of the present is seen taking place, the moment caught, for example, in a dialogue. Other scenes describe dreams and memories. They are constructions. “Memory is a selection of images. Some elusive, others printed indelibly on the brain. Each image is like a thread. Each thread woven together to make a tapestry of intricate texture; and the tapestry tells a story, and the story is our past.” But the appeal of the past is deceptive. The sense of life these figures have corresponds to the here and now.
The ink drawings from the series Too Close to Home convey the longing for safety and security, the longing for understanding, and the longing for being understood. And the need for a home. The ambivalence of closeness and distance in both form and content corresponds to the constant uncertainty of human existence. Don’t come too close to me. You’re too close to home.
Text: Manon Bursian, Director of the Sachsen-Anhalt Art Foundation
Artist Grant presentation, Halle, September 2010.
If you translate the title of the exhibition L’Éducation sentimentale as “Sentimental Education” and if you follow the track hinted at by the artist through the novel by Gustave Flaubert, it is all about events that leave traces under the surface and are beyond rational access. Perhaps these events are the frequently evoked formative moments in life but are hardly visible and refuse to be interpreted. What abyss is lurking behind this apparently sound façade? Are the poses and smiling of the figures only a spectacle made up for the viewer, or are they perhaps the mask of a monster intending to do violence, of a victim who had to suffer harm? One of the characteristics of Xenia Fink’s work is that it does not allow a simple interpretation of the masking of emotional shocks – thus is the basis of a strong and unsettling visual power to be seen in the design of a series of figural tableaux. Xenia Fink provides the figures in her boxes and pictures with contradictory character traits. They are never reduced to being simply good or evil but rather are full of nuances. She succeeds in creating whimsical figures doing crazy things. The limits between fiction and reality dissolve. Sometimes this becomes threatening, sometimes it sets you free and other times it is just wonderful.
The artist’s tableaux are infused with a repertory of stylistic and formal elements of modern pop culture. Stanley Kubrick and David Lynch are perceptible, as are the framing of the images, which overall are reminiscent of cinematography. Xenia Fink’s bold croppings and close-ups show figures, scenes and objects that are of such vividness it is as if she had photographed them with pencil and brush. For the viewer it is a daring game of illusion and reality and there exists the very real danger of totally losing one's footing.