Stephen Brandes combines a sense of the absurd, rootedness and rootlessness, with a keen attention to local detail and oddities
is a solo show and something of a compendium of personal interests., the artist revealed that he had devised a fictional alter ego, Alfred Sitzfleisch. What we saw in Parc arose from Sitzfleisch’s musings, as he travelled in Europe, on the history and activities of two individuals, town planner Patrick Geddes and the writer Günter Grass, with Goethe also involved..
It’s a convoluted web with the artist’s consciousness at the centre. Make your way through the labyrinthine spaces of the exhibition and it seems as if the alter egos have, in a way, proliferated. En masse, the work plays out the individual strands and tangled interconnectedness of diverse personal experiences in the whirlwind of history.
He made several versions, as he moved; he died in 1948. A founder of Dada, he was for the most part highly regarded by his peers but was not widely known or regarded during his lifetime. It’s fair to say that his impact on modern and contemporary art has been enormous. His sensibility and his final, English. Brandes’s own version of ais a walk-through assemblage/installation, its title translating as “pain or grief … construction.
Not long to go before Stephen Brandes's exhibition “Schmerzbau: it’s not all just misery” opens this Sat 2nd July at
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