Mariele Neudecker | Nothing Ever Stays the Same

In the organizer's words:

Everything that happens is an event in a chain of events, every future scenario is the imagined result of something that has already happened. Everything that was there will be again, until perhaps there is nothing left. Generation after generation of humanity comes and goes. The earth has remained.

The exhibition taking place as part of the DC Open is a combination of paintings and sculptures, stand-alone or in a cross-genre and questioning sense, in terms of content and form. Global, ideal and universal laws are part of the investigations that she presents and represents to us in the form of shifted landscape paintings, rock-sized objects painted with oil on the floor, a model ship decorated with layers of paint and water tanks with (illusory) landscapes.

Through the works in the exhibition "Nothing Ever Stays the Same", Mariele Neudecker proves to us that everything is interconnected, a cycle in which boundaries blur, subtly or directly. A cycle in which everything goes and returns. Everything is connected, and everything that lives and exists is subject to the laws of nature. We are subject to the tides, to the weather, to transience. Even if we try to be above these laws, we are only temporary inhabitants. Nothing remains as it is - and yet everything comes back.

In her works and exhibitions, Mariele Neudecker immersively takes us to research stations, usually in the eternal ice, and in doing so depicts our environment, our past, our present and perhaps also our future. It is always about the nature of man.

If man is aware of his transience and that of his environment, he tries all the more to understand himself and the world in which he lives. The sinking ship of humanity wants to be observed, man wants to conquer and possess. Wants to possess what he cannot possess. He sets imaginary borders, defines countries and rams his flags into the ground.

And ultimately, every representation is a question of perspective, a question of point of view, and therefore subjective, ultimately distorted. This is demonstrated by the repeatedly appearing motif of maps in Neudecker's work, which she appropriates and paints, deforms, alienates and ultimately exposes with her own subjects and symbols.