A quest for identity across the ravages of time, of matter, of being, of having been and of non-being. – Corinne Marié, ACM (2007)
A cosmic auditory resonates through the work of the two artists. One maker reclaims apparatus manufactured for the transmission of sound. The other takes sound, as it exists for him, and transforms it into the objectified line.
From a formal perspective, little connects them. Yet their physical formats contain a sense both of future and memory, of observation and recollection. It is as if, under the gaze of the viewer, they react as few artworks do. They communicate.
ACM is a pen name, acquired for and acknowledged by the artist’s closest circle. It denotes a practice, a private relationship. Yet the acronym serves to blur further his new archaeology. Like the work, the worker rebuts simple definition.
Dig and there is disclosure: a childhood, a family, an education. The artist’s way is warm, yet the words shield. Verbal language tightens the throat, so form is language enough. It speaks of rejection and refusal, of reclaim and re-use.
Our senses complete these cities which are not. It is we who balance on the cheap white platforms. Creatures, perched above us, recall a forest invisible. The still air beneath holds bombs, macaws, memos and radio bands.
Modest fields of study fascinate Julius Bockelt. This performative penman consumes his daily surround to assemble a silence. Tiny packets of light-handed lines track precise observations of phenomena. They echo his interior.
Bockelt-time is malleable, suspended, distorted and stratified. These, his analyses, abide by idiosyncratic principles. They embed and channel sense-memory. They turn the fleeting into ink on paper. We acknowledge art.
Bockelt’s performances add further evidence. Bubbles give birth, breathe and breed. Dust assembled spins in servitude. It is the artist as a god of small places.
We read, we listen. The awkward magnificence verberates.
ACM B 1951 (France)
Originally trained as a fine artist, ACM left his studies to follow the philosophical roots of his practice. Together with his wife, the artist settled in the remote village of his childhood, constructing a home and studio from the ruins of his father’s warehouse.
Foraging in the forest for natural materials, ACM whittled fragments of chalk and presented them as board-mounted archaeologies. They announced what was to become a lifetime investigation into a semi-fictional past. At its heart lay the artist’s fascination with the discarded and forgotten, as found objects and the guts of defunct typewriters, telephones, radios and clocks were offered the chance of life anew.
ACM modestly christened his architectural oddities boulots; yet they were clearly something more. The hitherto unknown maker soon had work acquired by La Collection de l’Aracine, which then become part of the permanent collection of Lille Métropole Museum of Modern, Contemporary and Outsider Art.
JULIUS BOCKELT B 1983 (Germany)
Julius Bockelt is an emerging art maker whose diverse and observational practice has evolved at Frankfurt’s leading assisted studio.
Bockelt began his experimental studies into the anatomy of sound in 2002. In these semi-performative events, he created acoustic interference which he then translated into meticulous freehand drawings. For Bockelt, these visual equivalents offered an interface between sound and vision; and addressed the fabric of auditory perception.
As Bockelt’s process evolved, so the artist approached his scientific research with the creative openness of artistic enquiry. It came to include photography and performance, alongside the drawings, sound pieces and musical experiments on paper. In 2011, Bockelt began to document cloud formations over the Frankfurt sky. In an ongoing archive that today contains almost 30,000 images (and the recent subject of an exhibition at Museum Folkwang, Essen), the artist examines the topic of naturally-occurring phenomena. Once again, his focus is an area of investigation available to all.
Bockelt’s recent experiments with bubble behaviour led to a liquid which features commercial cola as its key ingredient. Bockelt affects the structure and movement of the bubbles in playful experiments that give duration to fleeting phenomena.
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