Our collaboration’s origins are unmistakably connected to our own arrival into this world. One of us was born of grandparents who fled fascism in 1938 Germany; the other, to grandparents who participated and perpetuated the same Nazism, in the same place and time. Born out of a shared, if inverted, history, our collaborative work — the result of many months of conversation and remote exchange between us — investigates the many visible and invisible forces of authoritarianism, nationalism and fascism, with particular sensitivity to the supportive structure: the manifestations of both personal and bureaucratic language, text, symbols, images, and artefacts.

Across both of our practices, contending with these ephemerae (continuously haunted as they are by the specters of impotence and loss) has long been a method of ‘making sense’ of our fused inheritance, of mapping out the relationship between the past and present, and a strategy of reckoning with the latter.
In re-contextualizing and juxtaposing imagery, ephemerae, and text from radically different sources, we reject a linear narrative between discrete components, asking the viewer to embrace a state of “constitutive doubt.” Absolute Truth is thrown into question through the inadequacy of representation and language systems.

Sandra Erbacher and Luke Stettner, Zeppelins and Phalluses, 2020, NADA, presented by Kate Werble Gallery, Dec 1-5, 2020