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

which the ambiguous temporal structure
of the models becomes inscribed in the
pictures. In the mise-en-scenes we encounter
something temporally unique, not
an insight into past, really existing worlds
are given, but a glimpse of something only
seemingly existing, is shot, which is still
invented and thus utopian. Time appears
in the picture by way of a false present,
as a visualization of the model problem
and a narrative of the impossibility of
visualizing something in the present.
The works by Sabine Hornig and Michal
Budny as well as Christoph Raitmayr can
be seen as a connection of these two strategies.
Here no temporal structures, but
rather the models themselves are doubled.
Various models (types or dimensions)
are compared, standards and degrees
of fiction juxtaposed. Hornig, for
instance, combines a photograph of a bus
stop with a minimalist object depicting
of it, so that it remains open which variant
is the original and which the model.
Christoph Raitmayr, in turn, places a villa
from the 1920s/1930s on a coffee table of
a bare domestic landscape.
A further strategy can be found in the work
by Stefan Wischnewski and Kyrill Koval.
They use the category of the readymade.
Wischnewski places backpacks and
carryalls next to his MTSV sofa to form an
everyday sitting sculpture just as one often
finds at train stations and in front of hotels
when unions and clubs travel as groups.
Kyrill Koval builds a podium, which visitors
can climb up, it is a world that is otherwise
hidden, for it is a false ceiling which
is used in concrete buildings to hide supply
lines. Lutz/Guggisberg shows a bookshelf
with fictive book titles and book
mock-ups. Hans Ulrich Obrist’s approach
to the model character of art is presented
with his Do-It anthology. Ready-mades are
ordinary objects that have been artistically
declared to be artworks. Their reinterpretation
create an ordinary good to valuable,
unique objects does not necessarily
turn them into models. However, in art history,
the readymade became a model for
art itself, for modern art in particular. The
readymade, actually a prototype, became
a model of an epoch, which dealt with
models itself. The ‘finished product’ was
used to demonstrate how a reproduction
could become an original. From today’s
perspective, this is less interesting as an
act of interpretation than as a question
as to whether this enhanced value could
not be reversed again, i.e., the original
could once again become a functional
object, something special could once
again become something familiar, something
taken entirely for granted.
There can be no doubt. All of the objects
in the exhibition demonstrate how much
models can become artworks and vice
versa. Models are preliminary, theoretical
and if they are used as evidence then only
in quotation marks. They are props, preliminary
studies and pauses for reflection
which themselves are up for debate. The
exhibition makes use of precisely this aspect.
In the post_models, which come
after (in a dual sense) something else, the
undecided nature is in the foreground.
Instead of the question as to authenticity
the question as to the original is posed,
and question of added value yields to the
question of ought and being. Their hypothetical
being allows for the open-endedness
so typical of theses models, the
means to exist between something very
familiar and something disconcerting
and the free occupation of the space
between post and modelism.
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