03.06. - 08.07.23
05.02 - 11.03.22
13.06 - 31.07.20
geboren 1998 in Eisenach, DE, studiert seit 2017 er an der UDK Berlin, Bildendende Kunst bei Prof. Thomas Zipp. Die inhaltlichen Schwerpunkte Ferdinand Dölbergs Arbeiten sind Fragen zur eigenen Verortung innerhalb von sozialen Gefügen, zwischenmenschlichen Beziehungen, sowie das Hinterfragen von Individualität. Fiktive Figuren, maskenhafte Gesichter und absurde Körperformen, mit wechselnden Geschlechteridentitäten, sind Hauptgegenstand seiner Malereien und Zeichnungen.
On the other side
Reflections on Ferdinand Dölberg's "In the End, the Empty Space“ by Olga Hohmann. "La mort est du domaine de la foi" / "Death belongs to the domain of faith". Jacques Lacan When little children want to hide, they cover their eyes. They think that if they cannot see what surrounds them, they would themselves also be invisible to their surrounding. At some point, the moment will come when they realize that they remain visible, even if they cannot see what they are surrounded by. When they want to hide, they now look for a place where they actually cannot be spotted - they no longer close their eyes to do so. Perhaps this happens at about the same time that they reach Lacan's mirror stage: they now recognize themselves in the mirror and at the same time misrecognize themselves, perceiving themselves as a subject, as a closed entity. When people grow old and prepare, very slowly, to pass away, they sometimes experience something similar to children covering their eyes so as not to be seen. I remember my grandfather repeating over and over again that he was afraid of his death because we, the relatives, would then also disappear. "If I am no longer there, then you are no longer there either" he repeated over and over again. So death was also a logic problem for him - he imagined it as an "other side" from which we who were alive would be just as invisible to him as he was to us. In Ferdinand Dölberg's exhibition "Am Ende die Leerstelle" ("At the End, the Empty Space"), death is quite literally negotiated as another side: The property of the artist's deceased father borders on a cemetery; only a fence separates the area of flourishing life, the garden, from that of death, the equally flourishing gravesites. A ladder leans against the fence, one can use it to dare a look at the other side or even climb over it. The view of the cemetery is also a view into one's (own) future. Only since he has changed sides, so to speak, does the artist use this ladder to pay his father a visit. ... continue reading