Christine Lemke, Leben ist Leben, 2013

Christine Lemke, Kommt von Innen, 2013

Christine Lemke, Leben ist Leben, 2013, Detail

The Order Of Things, 2016, Installation view

The Order Of Things, 2016, Installation view

Mia Goyette, The Prospect of an End (wärmestabilisiert DVGW DW-8501B00049/…), 2016, Detail

Mia Goyette, The Prospect of an End (wärmestabilisiert DVGW DW-8501B00049/…), 2016, Detail

Mia Goyette, The Prospect of an End (wärmestabilisiert DVGW DW-8501B00049/…), 2016, Detail

Mia Goyette, The Prospect of an End (wärmestabilisiert DVGW DW-8501B00049/…), 2016

Albert Coers, Länderkennzeichen, 2016

Albert Coers, Länderkennzeichen, 2016

Albert Coers, Länderkennzeichen, 2016

“Up until the end of the sixteenth-century, resemblance played a constructive role in the knowledge of Western culture. It was resemblance that largely guided exegesis and the interpretation of texts; it was resemblance that organized the play of symbols, made possible knowledge of things visible and invisible, and controlled the art of representing them,” asserts Michel Foucault in The Order of Things.[1] His book serves as the casual interface for the exhibition The Order Of Things. In their installations, Albert Coers, Mia Goyette, and Christine Lemke examine the shifts and interrelationships between various systems of order within language, society, and economic contexts.
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