THE BEAUTY OF ERRROR

In the organizer's words:

"In an anechoic chamber there are two sounds, one high (the sound of the working nervous system) and one low (that of the pulsating blood) or vice versa. We won't make any more mistakes, we won't repeat anything with the window closed, scream yourself to death. That's more than right." [1]

What is actually wrong? And who defines what is right? "THE BEAUTY OF ERRROR" explores the poetic power of error; error not as a flaw, but as a fertile source of inspiration that stubbornly defies fixed ideas through its unpredictability. The illusion of perfection is to be replaced by the insight of beauty in imperfection. In an age in which technical singularity will soon no longer be a dystopia, in which the pursuit of perfection is considered a noble virtue, in which visual worlds are shaped by artificial intelligence, we must recognize the mistake as added value, as an indicator of humanity and as a sign of individuality.

Jonas Lerch makes use of the artistic practice of glitch art, which is intended to counter obsessive perfectionism and question rigid rules, technological arrogance and convention.

The installation consists of an atmospheric network of fragmented interviews with Mark Vernon, Rosa Menkman, Felix Kubin and Marta Zapparoli, alienated video collages and a soundscape of interference artifacts, found footage, field recordings and synthetic sounds. It explores the tension between order and chaos, perfection and imperfection.

The installation is intended to encourage the audience to question and re-evaluate their perception of flaws and perfection. Imperfections and disruptions should not only be accepted, but celebrated as a source of artistic inspiration and expressiveness.

Opening: Wednesday, October 23, 2024 20h
Sound performance: @luziferandthemachinegirls 22h
Finissage: Sunday, October 27, 2024 15-19h
Exhibition: October 24-27, Thu-Sat 16-19h
Gallery Oel-Früh I Marckmannstraße 32 I 20539 Hamburg

[1] Bargeld, Blixa in Geniale Dilletanten, Merve Verlag Berlin, 1982