Goodman Gallery Johannesburg
31 August – 4 October 2017
In this dizzying series of maps for groundlessness, Gerhard Marx continues his investigations into the formal and fictive possibilities of perspective. Rupturing the flat surface of the map, he removes the illusion of solid ground and replaces it with a hovering, vertigo-inducing sense of uncertainty. The shape and notion of ‘the frame’ recurs in several mise-en-abyme sequences across the works. Stacked in recurring configurations, its rectangular form has been bent into a series of optical riddles or Escherian landscapes.
When Marx cuts into the map it is a violation – an act of violence against the institutions and processes of global modernity through which the world was filtered to him. That violence is present in the energy of dispersion, ruination and collapse that ripples through the fragmented surfaces of these works. But the story does not end there. Deconstruction is offset by the meditative, embodied practice of reconstitution. In constructing his drawings from the ‘found lines’ of decommissioned and discarded maps, Marx displaces the scientific authority of cartography with the subjective impulse of calligraphy.
The works in this series are random amalgamations of fragments of Africa and Europe, and in piecing them together he conflates space and historical time into ‘migrant maps’. Directly referencing the makeshift, hybridised vessels we’ve witnessed people resorting to in the current migration crises of Europe, several works have a raft-like look about them – temporary, floating, drifting between land(s) and territories. Hovering against a plane of deep opaque blackness, Marx’s reconstructed rafts/crafts transmit a sense of disorientation that is simultaneously disquieting and liberating. There is that vertiginous sci-fi sense of being cut loose from the mother ship to float indefinitely through all space and time, but also an ecstatic sense of possibility in being released from the grip of inherited systems of knowledge, measurement, power and control.
– Alexandra Dodd
Gerhard Marx (b. South Africa, 1976) develops his projects through an engagement with pre-existent conventions and practices. This process entails careful acts of dissection and rearrangement, which allow Marx to engage the poetic potential and philosophical assumptions of his chosen material, developing original drawing, sculptural and performative languages. Marx completed his undergraduate degree at the Michaelis School of Fine Art, UCT and received his MA (Fine Art) (Cum Laude) from Wits School of Art, Johannesburg.
Ecstatic Archive is Marx’s sixth solo project with the Goodman Gallery. Marx’s work is shown regularly at international art fairs, held in numerous public and private art collections and was included on the South African pavilion at the 2013 Venice Biennale. Marx has been involved in the making of numerous public sculptures, including The World On Its Hind Legs, a collaboration with William Kentridge (Beverley Hills, LA), Vertical Aerial: JHB, (the Old Ford, Constitution Hill, Johannesburg), The Fire Walker, in collaboration with William Kentridge (Queen Elizabeth Bridge, Johannesburg) and Paper Pigeon, in collaboration with Maja Marx (Pigeon Square, Johannesburg). In 2018 Marx participated in the third season at the Centre for the Less Good Idea with his project Vehicle, in collaboration with musicians Shane Cooper and Kyle Shepherd. Vehicle is scheduled to form part of the Holland Festival in June 2019.
He has extensive experience in theatre, as a scenographer, director, filmmaker and playmaker, including REwind: A Cantata for Voice, Tape and Testimony (directed by Marx, interactive film by Gerhard Marx and Maja Marx, composed by Philip Miller), performed at the Royal Festival Hall, Southbank, London (2010), the Market Theatre, Johannesburg (2008) and the 62’Centre, William College, Massachusetts (2007).
Marx is a fellow of the Sundance Film Institute, the Annenberg Fund and of the Ampersand Foundation.