Kunstverein Arnsberg is finally – and delayed by several months due to the pandemic – pleased to present with “At A Moment In Time” its annual editions (Jahresgaben) of 2020. The title deliberately alludes to the well-known fairytale opening “Once upon a time…” which locates events in an indeterminate past. While some of the works in the exhibition actually create fictions, the majority speak to a specific moment in world affairs and are to be understood as reactions to real events and our present.

The exhibition looks back on a busy programme in 2020, which, despite the particular circumstances, was implemented and has repeatedly gained national attention. With Brad Downey, Lucia Kempkes, Ossian Fraser, Kristina Berning, Ana Lessing Menjibar and Ariel Reichman, the Kunstverein presented a series of emerging artists, and in some cases, gave them their first major, institutional appearance in Germany. “At A Moment In Time,” combines works from previous exhibitions with new works by these artists. In addition, we are pleased to show the painters Albrecht/Wilke, Solweig de Barry, Aneta Kajzer, Henri Haake and Maximilian Rödel for the first time at the Kunstverein. Lena von Goedeke, Matthieu Martin and Felix Kiessling will also debut their works in Arnsberg. Finally, the programme is rounded off with works by Jan Vormann, an already familiar artist for the audience of the Kunstverein. […].

Matthieu Martin also addresses the aspect of security and distance in his ongoing series “Principe de Précaution” (2012 — ongoing). The minimised, technical character of the small-format works on paper is reminiscent of architectural drawings. Details from the exhibition spaces of internationally renowned exhibitions are brought to the fore: security measures taken to protect artworks. However, in Martin’s work, the scenery is reduced to absurdity, for the artworks are missing; all that remains is an empty white cube. From today’s perspective, Martin’s work thus becomes a symbol for art and culture’s pandemic-related standstill. The focus here is not on art, but on security. The security arrangements gathered in the drawings ultimately appear as minimalist installations.

Curation & text: Lydia Korndörfer