Anselm Kiefer and the Superstrings in bullet points

It might have been more than a month since Kiefer’s exhibition at the White Cube reached its deadline and there are still some facets I haven’t entirely considered. Below the basic assumptions which I have been speculating upon recently due to lockdown.

  • Kiefer’s exhibition has moved in space but the body of work might still endure at the White Cube through a series of fundamental interactions between the universe and the different forms of matter, thanks to contrasting principles that can just be simplified with the idea that everything is connected
  • the glass that was ‘dressing’ the entire corridor is invariably a gate to some accidental parallel universe and a shield for truth. In Superstrings, Runes, The Norns, Gordian Knot (2019), the corridor is a passage to knowledge – this can be achieved only by mixing theories that might be inconsistent in principle, but that in conclusion belong to an equation connected with mythology, astronomy, and history. There were many knots in each vitrine, equations and unreadable scribbles covering these vertical fragile and transparent coffins – they are the power of knowledge that can be cut at any moment as the Guardian Knot mythical anecdote teaches us – or improve.
  • there are always two ontological layers: one is an idea, the other is content
  • The research for a theory that unifies all the physic equations we know will be the starting point of everything else
  • Poetry is the energy that vibrates in all the ten dimensions and everything is forever running and returning to us, which makes everything pretty painful or really joyful
  • the meaning of the world is basically a personal interpretation, a solipsistic jail of assumptions that never reach an axiom
  • Nature is uncontrollable and will never fit the canvas in their entireness

And that’s it, really.

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