BLOOD INHERITANCE

Julius Reichel has flooded the Kostka Gallery with hundreds of kilograms of discarded textiles. A monumental web, its junctions formed by knotted sleeves and trouser legs, makes full use of the space’s verticality and turns it into a labyrinth of passageways and sight lines. We do not walk past the work but through it. The structure is at once artwork and exhibition architecture, and can be read as an image of the systems that surpass us and whose full scope we are unable to see. On the walls, the web finds its counterpart in works made from found objects: shelves, floorboards, torn-out sections of wire fencing, all of them at once image and object. Reichel fills them with texts, hashtags, and smileys that he thinks of as carriers of data, and whose grin may well be at our expense. What looks like a grand spectacle is also a precisely constructed trap concerning manipulation, extractivism, and war, and what we have inherited and what we will pass on.