Gruppenausstellung (group exhibition) – Die Rückseite des Schatzes (The Back Of The Treasure)

In the organizer's words:

[DE]

Group exhibition "The reverse side of the treasure - On the epistemology of the Wunderkammer" at Galerie im Körnerpark

From today's perspective, the cabinet of curiosities appears outdated and is not very suitable for addressing the diversity and interconnectedness of contemporary art. It reflects a quasi-cognitive state of the era in which various objects were continuously brought together from their initially chaotic state and organized according to typologies.

The fascinating work The Throne of the Grand Mogul (the Treasure) by Johann Melchior Dinglinger from the Dresden Green Vault is particularly noteworthy for its reflection on these questions. The legendary chamber of treasures and wonders, which was established as a public museum by Augustus the Strong of Poland and Saxony in 1723, is renowned for its incomparable wealth of treasures.

Under the influence of its patron and ruler, this extraordinary piece presents an opulent installation on the front, while the reverse depicts an imaginary orientalist scene in a crude manner. In an unintentional but telling way, it reveals how the painter explored the virtual and the real.

In the 18th century, an enormous power, driven by encyclopédisme technique (Gilbert Simondon), began to conquer the world. This marked a turning point from the traditional system of knowledge, previously reserved for exclusive groups such as artisans, to an explosion of accessible knowledge, demystifying its mystique. In this context, the strong material emphasis of the Wunderkammer evokes a non-material dimension. Chaos, emptiness and darkness as cosmological concepts resonate with the careless but open treatment of the back of the treasure.

The group exhibition makes use of the striking architectural features of the Galerie im Körnerpark. A spatial parcours is created, alluding to an endless reflection, in order to create possibilities for epistemological interactions. The 3D model of the treasure, which is presented in the entrance area of the exhibition, resembles a reincarnation of the original artifact. With a digital avatar of Dinglinger himself standing in this virtual space, the historical materiality is transformed into a neutral model - similar to the objects often used in gaming - to open up new conversations with future artists unfolding in our time on the back of the treasure.

Curated by Jiaxing Chao
Curatorial assistance: Ce Jian

[ENG]

Group exhibition "The Back Of The Treasure - On the Epistemology of the Cabinet of Curiosities" at Galerie im Körnerpark

Nowadays, the cabinet of curiosities has become outdated and is no longer adequate for addressing the diversity and interconnectedness of contemporary art. It represented a quasi-cognitive state of the era, in which various objects were continuously accumulated from their initially chaotic state and organized into typologies.

In exploring these questions, the intriguing piece titled Throne of the Grand Mogul (the Treasure) by Johann Melchior Dinglinger from the Grünes Gewölbe in Dresden is especially notable. Founded by Augustus the strong of Poland and Saxony in 1723, this legendary collection is renowned for its unparalleled wealth of treasures.

Under the influence of its patronage ruler, this extraordinary piece displays an opulent installation on the front, while its backside features an imaginary Orientalist scene executed in a coarse technique, its unintentional eloquence demonstrates how the painter explored the virtual and the real.

During the 18th century, a huge power driven by encyclopédisme technique (Gilbert Simondon) began to take over the world. This marked a shifting point from the traditional system of knowledge once held exclusively by groups such as craftsmen to more explosion of accessible knowledge, dispelling its mystery. In this context, the cabinet of curiosities' strong emphasis on materiality evokes a non-material dimension. Chaos, emptiness and darkness, as cosmology notion resonate with the sloppy yet open treatment of the backside of the Treasure.

The group exhibition utilizes the distinctive architectural characteristics of the Galerie im Körnerpark, a spatial parcours referencing infinite mirror reflection is created to provide possibilities for epistemological interactions. The 3D scanned model of the Treasure, presented in the exhibition's entrance becomes a reincarnation of the original artifact. With a digital avatar of Dinglinger himself situated in this virtual space, the historical materiality is transformed into a neutral model, similar to those commonly used in gaming, in order to open new conversations with future artists from the backside of the Treasure, unfolding in our time.

Curated by Jiaxing Chao
Curatorial assistance: Ce Jian