with Frederic Detjens and Marcus Steinweg
March 15 � May 12, 2012
opening reception: March 15 7:30-10pm
Marcus Steinweg talk on Promise of Consistency: Art and Philosophy,
on Thursday 15 March at 7:30pm
The artist dreams a dream- a utopia where love, freedom, free love and a new society of men and
women will uncover a more variable and profound relation to life and nature by effacing the
dominant economies of impassibility.
Deleuze and Guattari argue that language is composed of order-words which are repeated in
collective assemblages of enunciation. Beneath the order-words there are pass-words that counter
the stoppages and transform the compositions of order into components of passage.
This exhibition is about words, pass-words, new alphabets, assemblages, modes of composition,
structures, slogans, phrasal elements that veer towards a revolutionary potentiality.
The Lphabet, conceived by Dirk Bell as a corporeal intervention in the regime of letters is
designed in a new font and introduces LOVE -a symbol that has made its appearance in various
installations, sculptural objects and collages he has produced in the last two years- as a substitute
for the letter A. Typically interchangeable with the often aggressive notions of �top�, �first class�,
�dominant� (alpha-male), the first letter of the alphabet is swept up by LOVE.
The metal grids, laser-cut out of steel sheets are phrases / puns extracted by observing a
society plied by systems that harden every day conditions of living: WORKOUTOPIAN,
BURNOUTOPIAN, ENDISNEAR, BRUTALISMART.
The exhibition is framed by Bell�s invitation to philosopher Marcus Steinweg and artist/filmaker
Frederic Detjens. Marcus Steinweg is participating with a series of analytical diagrams addressing
Greek philosophy, questions of power and the future of Europe while Frederic Detjens will be showing
a film that takes place in the studio he shares with Bell in Wedding, Berlin. The film is an
assemblage of images featuring art works in progress, actors and dancers moving within
installations as well as a maneuver between the classical use of paint in the fine arts and spectacular
Hollywood movie techniques (special effects). With this gesture Dirk Bell intermingles the visualization
of concepts culled from high (philosophy) and low (mainstream culture) with objects characterized by
conflicting energies (romantic tendencies realized through mechanic processes).
The smallest interval is always diabolical: the master of metamorphoses is opposed to the
invariant hieratic king. (Giles Deleuze/Felix Guattari, November 20, 1923: Postulates of Linguistics,
1987, A Thousand Plateaus, University of Minnesota Press, Minneapolis, p. 109).