Nevermind The Gap
Joey Ramone, Rotterdam
03.09 – 14.10.2017







Nevermind the Gap assembles a series of works
by Vikenti Komitski, lenticular prints, collages and
installations likewise, that deal with the
impossibility of closing the circuit between two
almost identical, but nevertheless incompatible
phenomena, modes of representation or points of
view. Instead of indicating a dead end, the
minimal gap between the one and the other is
turned into the infinitely delayed boundary point
that keeps on feeding our desire. The gap is thus
neither turned into an object of mourning, nor
fetishized, but rather nonchalantly registered:
there is the gap again, nevermind!
The three lenticular prints from the on-going
series Parallax each present two complementary,
but non-concurrent sentences, where the one can
only appear, when the other disappears, where
the one can only be revealed, when the other is
concealed: »Always here« and »Never there«. By
different means, the installation High Noon sets
forth the Fort-Da game characteristic of the
lenticular prints. Consisting of three metallic
elements, ready-made and devoid of their original
function, the installation recalls a dystopian
landscape; or rather it’s somehow comical cliché.
The frame at the centre of the installation
does no longer frame anything, but the
void it contains and thereby highlights the
precise moment of splitting that is
characteristic of the high noon, the so
called hour of the shortest shadow, when
every »one« turns into »two«.
Constantly changing tone and media, Komitski’s works move between the detachment of the lenticular prints, the colourfulness and vividness of the collages and the melancholic aftertaste of the installations. It is, thereby, the interplay between the conceptual rigidity and the intrinsic aesthetical value of the materials and objects that leads yet to another meaning of the »gap« in the title of the exhibition: it is the gap between the conceptual and the aesthetical, between the sayable and the sensible, that Komitski is trying to grasp and to set at play.
Constantly changing tone and media, Komitski’s works move between the detachment of the lenticular prints, the colourfulness and vividness of the collages and the melancholic aftertaste of the installations. It is, thereby, the interplay between the conceptual rigidity and the intrinsic aesthetical value of the materials and objects that leads yet to another meaning of the »gap« in the title of the exhibition: it is the gap between the conceptual and the aesthetical, between the sayable and the sensible, that Komitski is trying to grasp and to set at play.