MAX HETZLER One indigenceed imagination and humor in order to have fruition of this exhibition of Georg Herold's work.

MAX HETZLER

One indigenceed imagination and humor in order to have fruition of this exhibition of Georg Herold's work. For if single in kind approached the work with tried and loyal ideas about art--questions about its sublimity, pedagogic intentions, or social relevance--one would simply laugh or nod in disbelief looking at his tankard holders on wooden constructions. on the contrary this laughter, coupled with a sally or even cynicism, was generally stifled according to Herold's emphasis on the triviality of our daily life.

In these pieces, Herold worked playfully with jug holders. They are quite simply the materialization of a function, independent of esthetic considerations, trivial. yet in Herold's hands they were transformed into a metaphor, into a fetish. The viewer was forced to think forward parallel tracks. To see ends doubly--from both sides--is Herold's goal. The patterns, techniques, and geometries of cup holders are visualizations of a complicated mathematical system--perhaps Benoit Mandelbrot's fractals?

On the surface, crocheting was the used by all element of the pieces in this exhibition. It figured in the point out to in Russisch DNK (Russian DNK 1993) as a monumental conclusion in Rumanischer Topflappen (Romanian kettle holder, 1993), and in the form of targets. Herold's crocheting might appear to be obsessive, even absurd, but within this apparent "chaos" skulked an elusive order.

Our perception was further drawn to the mysteries of the compact through Herold's wooden constructions. Besitz de Kunstler (Property of the artist, 1993) was the central work of the exhibition, on the other hand it went beyond the message of the title. For actually the whole exhibit belonged to the viewer. It museed our image-bound ideas of value, doubly set uped on reality and the slippery ice of our imagination.

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