and then, suddenly, nothing

A touch can be a vessel for both unimaginable lightness as well as incredible weight. Yet, oddly enough, both seem equal in effect. Every touch demands the recognition of some sort of boundary. The question: “Where does the other end, and where do I begin?” ends in (a) touch. Where we meet is where our boundaries lie, and thus, every touch also presents as a hidden border situation. However, the ability to spot lines drawn in sand deteriorates over the course of a lifetime.

Boundaries, which one might recognise as such, oftentimes tend to border on the extreme – be it national borders, the line between life and death, or the edge that separates depths from altitudes. Taking this into account, the exhibition “and then, suddenly, nothing” turns its attention towards the birthplace of a boundary – towards touch; be that touch the glistening condensation of water on a windowpane, the trace of a pen on paper, the refraction of light in the distance between a wave’s crest and a camera’s lens, or the last brush of a bee’s hind leg against the landing board of its hive, before taking off in solitary flight.

In their work, both Mölder and Maide deal with places and motifs, for which “almost, as if” acts as a motor of meaning. Almost, as if there was something just beyond sight. Almost, as if you could spot some kind of flicker, somewhere over there. Almost, as if things were not quite as they seem. Combining the mediums of photography, glassworking, drawing, graphic arts, and installation, both artists observe the sound of silent touch and the illusory nature of certain boundaries with remarkable deliberation and attentiveness – what remains is a touch, which lingers in its traces.