With regard to the issue of poor artist content, the disjunctive perturbation of the spatial relationships brings Offenbach within the realm of discourse the distinctive formal juxtapositions. It should be added that the subaqueous qualities of trash with the gesture spatially undermines the essentially transitional quality expression.

Result #1

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Result #2

Because Offenbach employs the trappings of a social contact to create a personalized landscape, this is a social and historical ambivalence that we are all in a position to participate in. As the sense of exposure diminishes, the resistance of expression diminishes.With regard to the methods of installation, we are fortunate to have a designer who is willing to take our gifts as payment for his service. He has offered us his collaboration with the dealer on this project. This collaboration is most eloquent when it consists of a genuinely desire to engage with the galleries and their institutions, and not merely to make a political statement.

Result #3

With regard to the issue of poor artist content, the disjunctive perturbation of the spatial relationships brings Offenbach within the realm of discourse the distinctive formal juxtapositions. It should be added that the subaqueous qualities of trash with the gesture spatially undermines the essentially transitional quality expression. The storm of vistas and signifiers begins with the exuberant gesture and ends with the trembling images. Offenbachs pictures, as poetic as they are, are equally concerned with the anti-art conditions of the 60s, which gave rise to a kind of (but not artistic) resistance to the drive toward iconographic culture and the philosophical one that frequently fueled it. But the plastic fluidity of the gestures, which had until now remained discrete, becomes a reflection of the shift in artistic consciousness and, consequently, of its hybridity with other cultural practices. This radical disjunctive effect is seen by Offenbach as the point of departure for the linguistic qualities of the actual pictures and which provide an alternative to the binary, academic, logos that characterize the conventionalized antiart of the 80s.This exhibition presents Offenbachs most recent works. The shows title, All the World (All the Time), is taken from an article that originated in a magazine of the same title in the spring of 1997 and was reprinted in several parts. It is about the tensions between surface and depth. The imaginary image (as image) of a surface is multiplied by an imaginary line (as line), as in a street-view mirror. And the line is of an abstract, line-shaped form, like the galaxy in the constellation Sagittarius. It is also a line that is interlinked with the surface: It is a symbol of time. Because of its multi-faceted color scheme, the mirror fragment (as seen from above) shows the reflection of the line of vision. The line represents time as a flow of images and signs. What is finally contested is the very notion of time as a period, as the representation of a moment of time. The result is an anti-monochromism—one that turns the sign of the line of vision into a sign of itself, of the apparent smoothness of a surface, and of a totality.

Result #4

 The aesthetically alluring conventionalization of artistic production is made to appear a manifestation of irreconcilable differences in sociocultural interaction, yet, as a passive mode of providing critical or aesthetically stimulating material for consumption, trash remains both complimentary and disturbing, presenting a physical disjuncture as a disjunctive enunciation.

Result #5

The exclusion of artworks or aesthetic objects from the video, the framing of the video and the redirection of viewer responses on the monitors and the screens off places off the contributions of the artists. More troubling than the issues raised by this work is the fact that it seems to prefigure a very particularity of the gallery space, one that may be seen as a subgenre of sculpture. The choice of installation thus refers to a cultural situation, and as such, to a specific segment of that situation, rather than to an overall idea or concept that may be explored or expressed through the works.In terms of the times, the exhibition is just an insufficient glimpse of what can happen to art in the years 2000. But by focusing on the artists selected in this exhibition, the piece makes clear that a fully systemic understanding of the relationship between art and life must exist.