50 Jahre Zukunft des Organisierens
9. Super Constellations
Here, abstract geometric shapes are the basic elements of a visual language through which communication turns into understanding.
Understanding without words
Janine Eggert and Philipp Ricklefs have been creating art together since they began studying fine arts at Hamburg University of Fine Arts (HfBK). Colloquially, you’d probably call them a good team: they work hand in hand and understand each other, even without words. The way they collaborate becomes the subject of their artistic work. The prints from the Super Constellations series show different constellations of geometric shapes. In loose succession, seven geometric shapes (from triangles to nines) were silkscreened onto paper using metal stencils.
The stencils are a set of tools the artists developed to assist in the collaborative process of creating their frequently large-scale sculptures and installations and using them as a kind of abstract geometric physical communication method.
By twisting and turning these small-format forms, they experiment to see which arrangement of shapes and colors is the one that creates the desired expression. Each stencil is assigned a color from the CMYK code. What was originally only intended as a means to an end thus comes to the fore. Depending on the arrangement of the shapes, new color combinations result from their superimpositions in the printing process. In this way, sequences of shapes and colors are created which produce stronger and darker colors, depending on the agglomeration.
Art in dialogue
The unexpected appearance of new structural variations, the repetition of certain patterns and the uniqueness of new pictorial spaces appearing in the course of different variations is what connects this artistic work by Eggert/Ricklefs with the pictorial spaces created by Telse Schnelle-Cölln – and not only with her art, but also with the Metaplan moderation method. She, too, applies a predefined grid of colors and shapes, each of which allows for different perceptual impressions in new compositions.
The connection of artistic perspectives in the Metaplan Forum West allows you to hypothesize about the aesthetic value of this art. It no longer moves on the level of the what or how of representation, but rather that a process of understanding with and around this art emerges from the assumption that there are diverse levels of perception and interpretation in the eye of the beholder to which art can connect. The focus of this art is to train the perceptive ability of the beholder, and not to classify the initially visible as the only recognizable thing.
Exhibition: Metamorphoses – 50 Years – The Future of Organizing
A description of what constitutes Metaplan from a merely internal perspective would be incomplete. That’s why we put together a variety of artistic positions that describe in different ways what constitutes Metaplan.
We’re looking back to ask ourselves what is to come. Welcome to the world of metamorphoses.
Transformation gets organizations moving – why a change of perspective can be worthwhile.
Between information markets and corridor gossip – experiencing the history of Metaplan in an unusual sound space.
Change through attitudes, attitudes in change: how Metaplan ticks – past and present.
Telse Schnelle Cölln’s work
As a metaplanner striving for unambiguity in her statements, Tesle Schnelle Cölln’s art balances on the threshold between figuration and abstraction.
Visualization is the interaction of individual elements for an overall impression – in art and moderation.
From op-art to visual rhetoric – the art of moderation lies in the interweaving of individual elements.