Daniel Rode, exhibition view, 2010
At times, text is no more than mere ornamentation - such as when it is composed in a language not the author's own. And the tendency to read Arabic script starting at the wrong side of the page, too, belongs to a longstanding, nearly unavoidable tradition of semiotic misunderstandings. In yet another way, when portions, individual words or sentences are taken out of context, the context is abstracted from the text. Take, for example, "GIVE ME ALL I CAN GET," positioned in large, three-dimensional neon letters in an exhibition space. Subject and object are undefined, a fragmented situation that allows for no conclusions as to the original textual meaning. Daniel Rode explores the reasoning and level of abstraction to which both text in the public space and text in the contemporary art space are subjected. Often, source and intention remain unrevealed and the "true story" is not told. On the one hand, we yearn to understand, to infiltrate the content; on the other, we are courted by formally precise aestheticism. Seeing and understanding (perhaps even both at once?), contradiction and confusion are the vehicles of the installations by Daniel Rode, works in which he puts the cogency of text, form and art up for debate.
"Guys, or, the Continuation of a Misapprehension" presents errors in communication, semantic gaps and works featuring some degree of disarray.