Christoph Knecht’s exhibition displays can be traced back to the courtly tradition of cabinets of wonder. Collecting odd objects all over the world, he either implants transformed versions of them or integrates them as they are into his works. His current project also includes pieces from the Herzliya Museum of Contemporary Art’s collection. In addition to diverse cultural codes, Knecht takes possession of traditional production processes, such as work in ceramics, bronze or etching. At the same time, combining mass-produced, hrow-away products such as paper plates or paper doilies into his works, he not only transfers them into the sphere of art but grants them a longer shelf life.
All of the above render visible Knecht’s avoidance of hierarchy. In his paintings, biomorphic plant shoots are conjoined with human body parts, and ornamental elements are combined with botanical or medical engravings. During his Bronner Residency in Tel Aviv, Knecht produced the series Ramallah Cat. These watercolors portray cats looking over the separation wall or strolling across it. The combination between the explosiveness of the topic and its tawdry depiction attests to the lethargy of the politics in question – weariness which is not due to a lack of interest but rather to excessive challenges. The cat, a symbol of kitsch and cute sweetness in an internet culture, becomes a representation of neutrality.