Stefan Marx has assembleda selection of uniform works for Ridiculous Drama, his fourth solo show for Ruttkowski;68,—an assortment of his typical melancholicyet musical typographies and hiscuriouscaricatural figures—as well as a large-scale installation of his reinterpretations of an often seemingly rather bourgeois souvenir, the wall plate.
Stefan Marxcomes across the characters and sayings that inhabit hisworlds everywhere—he meets them in cities, reads them in books, hearsthem in songs,or picks them up in conversations. He isolates them from theiroriginalcontext and gives themform, color,and format,without adding the complexity of recontextualization. Sometimes in black and white, although for this exhibitionthey have also been enhanced with intense color, he scattersthem aroundthe exhibition space and allows the viewers to make their own associations. Which literary text, album, orpersonthecontents are derivedfrom is of secondary importance—the text fragments take on a life of their own, searching insidetheviewers’ minds for their ownstories, thoughts,and feelingsto latch onto so that they can be developed further and stay with them after they leave. Marx’works thus convey a coherent sound, even without any music playing:a pleasant, anticipatory,quiveringfeeling of longing and melancholy. Life as a drama—but one that is absurd, ridiculous, laughable.