post_modellismus – models in art - krinzinger projekte - Galerie ...

a species-typical tendency, stock gains.)
These models allegedly show a state that
is still but will cease to be when the forecasts
prove to be correct and the characteristic
preliminary nature of the model
becomes transformed into something definitive.
If what is prophesied becomes
real, then utopia becomes reality and
something disconcerting becomes completely
natural.
In a nutshell: the virtues of the models
lie, disconcertingly enough, in the shortcomings
contained within them. And the
added value they represent can be explained
on the basis of the inferiority and
the admitted distance to the original. That
they are still useful and valuable has to do
with their true-to-life character, i.e., the
adaptation to the human senses. Models
depict things and events that evade normal
perception. They offer the necessary
adaptation by the true-to-life shift in dimensions:
urban plans become conglomerates
consisting of tiny cardboard boxes,
continents shrink to the size of maps,
planets to globes. By contrast, tissue samples
are enlarged and atomic nucleuses
are blown up so that they become large
colour balls or even as architecture that
can be entered. What is illustrated always
loses its real dimensions, but at the same
time gains a tangible dimension of plausibility
and conviction. While temporality
splits the model, and endows it with a dual
rift, scale by contrast facilitates its perception
and enhanced effect, but also its existence
as a whole. Scale does not just separate
the parts of the model but creates
a totality, which can be juxtaposed with
the original in a new true-to-life entity.
Until now we have spoken about the effect
on ontological structure and perception.
The word after, which indicates temporality,
can also be used in a different
sense. For after can also be understood in
the sense of according to or corresponding
to. This, by the way, is true for both
Latin and German. And precisely in this
understanding the exhibition title and its
ambitious project is enhanced with another
significant variant. The artworks to
be seen there do not refer alone to other
ones but also assimilate them. Reference
and reception disrupt as it were the rupture
and create a bridge, which the underscore
in the title already alludes to. The
referential character found in these works
is mainly manifested in the fact that it is
open to ambivalence. These models are
disconcerting, on the one hand, in that
they distance themselves from precursors,
but also self-evident to the extent that they
assimilate them and continue to reflect
on them. Models, as we said, do not stick
to themselves. They assume the role of
another one. For the models of post_modelism
it seems to be true that they understand
this role first as re-flection and second
as interaction since the differences
between before and after no longer have
to exclude each other. Thus the differences
begin to become uncertain, the irreconcilability
of model and artwork, copy
and original, past and future, being and
ought. Thus these oppositions become
part of a play of forces and the connecting
line, placed so shrewdly between these
two words, proves to be a sign of exchange
and its manifold back and forth.
Only by aesthetic means is it possible to
obtain and express how meanings multiply
as a result of multiple references and
the polar logic of model and original is disrupted.
And thus the exhibition shows
works that seek to be both, that understand
themselves as artworks but still
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