Thursday, 7 October 2010

The Making of History, Present and Future (2010)

Audio 7:24 minutes / 10 audio players, 10 headphones, A5 sign with gallery logo presented at information desk

The visitor enters the gallery, goes towards the information desk and picks up an audio guide. He puts on the provided headphones and presses the play button. After an ambient musical introduction, an unknown speaker (the artist) greets the visitor and promises an experience-packed programme, specially formulated for their personal pleasure. The speaker then proceeds to describe the room in which the visitor finds himself:

The room in which we currently find ourselves is a tremendous feat of architectural ingenuity- it brings art into a new light. An artist of local importance was once noted to have said that “the building complex is like an evergreen labyrinth garden”. One feels obliged to add, that this room tucked away in obscurity is surely the beating heart, and what could be better than filling its spirit with international contemporary works of art.

The guide is nothing but generic: The deceased founder is reported to be still seen smoking his pipe in the gallery, and the pieces on show have been selected for their unsurpassable quality. But the description is far from specific:

...It has modern as well as classical values, it is at the same time decorative, serious and humorous, it is perhaps slightly erotic for those who enjoy the erotic, and it seems to me it satisfies anything that you could ever want. Contemporary art with the use of mixed media.

The Making of History Present and Future is an ironic playful text exploring themes of representation: 

Who represents what, why and whom?

What effect does history, the telling of story, or poeticised myth have on both corporate, national and personal identity?

Jakopic Gallery, Ljubljana 19.10 - 15.11.2010

Begehungen Art Festival, Chemnitz 18.08 - 21.-08.2011

Friday, 23 April 2010

Psalm of a New International (2010)

Painted text on wall (4 x 3 metres)

Placed on the edge of two galleries, the visitor passing from the Universal Cube to the Colombus Art Foundation during the Spring Rundgang 2010 (open day/tour), was confronted with a large black text that seemed to be neither on nor off the wall, neither part nor introducing the exhibition, but rather suspended in space. A blockade, a freeze frame, a counter action versus a banal phrase, an apparent lack of visual, and a constantly moving perspective. Psalm of a New International is a statement, caught between a time code and a psalm verse. It is a large suspended statement, in essence banal, suspended in time and action. By opposing the real perspective of the wall, the statement counter acts the wall in effort to to make itself physical. It constructs the illusion of a screen between the columns onto which it projects 'itself', however its identity nevertheless depends on the viewers' standpoint to achieve the physicality it desires. Working with the Rudgang's speculations and voyeurisms. In the end, the computational analogy of a large document rends the the content of the 'document' empty. 

"BLOCKADE" Universal Cube, Leipzig, 01. - 30. May 2010

Sunday, 24 January 2010

The Economy of Guilt (2010)

24 minutes/ 16 channel audio installation ca. 5m x 5m / 16 passive speakers, 16 speaker stands / audio cable / 24 track HD digital recorder / 2 x 8 channel audio amplifier 

Collective responsibility, collective guilt, and collective absolution, are key to the functioning of many systems in our society. Some are guiltier than others, but all are responsible. And in the end, the question remains: Who is to blame, when we are all responsible?

The installation in collaboration with Adrian Sievering compromises 16 loudspeakers in a grid system. From each individual speaker one voice can be heard, which together as a collective recount an abstract guilt in the form of a factitious litany.

Over the duration of 24 minutes, the speakers repeat variations of a standardised text, which oscillates from phases of collectivity, to phases of chaos and individuality. The resulting dynamic overrides the anonymity of the speakers, and invites the viewer to identify himself with the collective; his fascination in its ritual, seduces him to take part. The standardisation and constant repitition of personal guilt, banalises its very meaning.

The aim is to present a comparison between the current socio-political economic system and the rite of confession in a belief system. In hope of bringing to debate, issues among others:

- Our dependency on belief in abstract speculations

- The alleviation of personal guilt through collective statement

- The abstraction of responsibility

- The consequences of a lack of direct accountability