Kelly Weiss : Quiet enough to forget

In the organizer's words:

The GAK is pleased to announce Quiet enough to forget , the first solo exhibition by Kelly Weiss (*1996, lives in Lyon/FR) in Germany. The artist uses canvases, floor, wall, truck tarpaulins and other found objects for her works. They are processual and refer directly to the space, surroundings and conditions of their exhibition venues. Two video works by Adele Dispaquale will be shown as inserts within the exhibition.

Kelly Weiss takes walking through often urban or industrial spaces as the starting point for her artistic practice. Here she observes, perceives relationships between materials and collects rust, sediments or polycarbonate sheets, among other things. What Weiss collects is often linked to the passing of time and attention. Her works are characterized by empty spaces, traces, deposits and superimpositions that carry memories and form fragile relationships between pigment and carrier, the surface and its depths, the observer or inhabitant and their surroundings.

The process underlying Weiss's works is always accompanied by a subtle transformation and a re-framing that frames sections and brings them into view. The long row of windows in the GAK and the tidal river Weser running alongside the building were at the heart of the concept for Quiet enough to forget.

The fabric on which some of the works shown in the exhibition are created will lie on the banks of the Weser for a while, influenced and worked on by the rhythm of the river. The painting that Weiss places on the fabric before and after contact with the water brings together different temporalities, human and more-than-human influences and the building.

Both Weiss's paintings and her sculptural works can be seen as models of inhabitancy. They are situated between inside and outside, demarcation and difference. In her works, Weiss proposes a framework to give visibility and attention to those aspects that are perceived as fleeting but are actually long-term.

In close dialog with the works of Kelly Weiss, we are also showing two videos by Adele Dipasquale (*1994, lives in The Hague/NL) in the exhibition. Both are part of a comprehensive research project that deals with language as a constructed tool. Language makes communication possible, but at the same time prevents certain forms of speaking. The negotiation of these boundaries of language and understanding, the verbalization and loss of language as acts of resistance and possible transformation are at the heart of Dipasquale's artistic work.

In a way, both artists, Weiss and Dipasquale, focus on fundamental conditions in order to attempt shifts and question the reasons for them.