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

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Michal Budny Map, 2005 Cardboard, paper, 11,5 x 40 x 40 cm, ed. 10 In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. - Jorge Luis Borges, On Exactitude in Science, in Collected Fictions (Penguin, 1998). 38
James Casebere Floor Flooded Arches from the Right, 1999 Cibachrome on perspex, 154 x 122 x 4 cm, ed. 5 »You know, part of my program early on was that the seams had to show. That you would suspend disbelief when looking at the object or the image, but the way it was made still had to be clear to the viewer. My models were always clearly models. This is a Constructivist idea; you don't hide the construction. It's a Godardian idea, too. This is a value that he held as a filmmaker: you allow the viewer to step back and have a certain critical distance from the experience. You're not swept away emotionally by the heat of the moment the way you are with a filmmaker like Spielberg. […] I would [consider myself more modernist than postmodern] now. I confuse the issue a bit with Monticello and the pink hallway. But, otherwise, yes. I went through that period of thinking about sign systems instead of space and light. But I'm interested in both, at this point. Not Postmodernism per se, but some of the issues involved.« - James Casebere by Roberto Juarez, in Bomb Magazine (no.177, Fall 2001) 39
Page 1: post modellismus - MODELS IN ART /
Page 7 and 8: table of contents 6 post_modellismu
Page 9 and 10: shows how society tries to explain
Page 11 and 12: spielsweise beim MILITÄR (Antal La
Page 13 and 14: Since the photographs depict models
Page 15 and 16: this ‘reality’ as an effect tha
Page 17 and 18: 1 The following text is a shortened
Page 19 and 20: Ausmaß jenes ‘Spiels’ erahnen,
Page 21 and 22: Edwin Zwakman gehört zu derselben
Page 23 and 24: sches, es spielt darin aber nur die
Page 25 and 26: than with art history without a beg
Page 27 and 28: a species-typical tendency, stock g
Page 29 and 30: which the ambiguous temporal struct
Page 31 and 32: Sabine Dorscheid. Befragt man den T
Page 33 and 34: sind aber nicht nur zeitliche, sond
Page 35 and 36: Artists’ nennen. Doch der Beigesc
Page 38 and 39: Peter Belyi My Neighborhood, 2005 1
Page 42 and 43: Thomas Demand Five Drafts (Simulato
Page 44 and 45: Gregor Eldarb Fragment - graugrün,
Page 46 and 47: Sabine Hornig Bus Stop (Bushalteste
Page 48 and 49: Antal Lakner Naval Cutlery Kit, Ice
Page 50 and 51: Graham Little Bucks Fizz, 1998/2005
Page 52 and 53: Aernout Mik Glutinosity, 2001 DVD b
Page 54 and 55: Hans Ulrich Obrist Do it ! (extende
Page 56 and 57: Christoph Raitmayr Untitled, 2005 C
Page 58 and 59: Nina Saunders Smooth Blend, 2001 2
Page 60 and 61: Albrecht Schäfer Malewitsch Museum
Page 62 and 63: Laurie Simmons Woman Listening to t
Page 64 and 65: Yoshihiro Suda / Tsuyoshi Ozawa Wee
Page 66 and 67: Stefan Wischnewski MTSV-Sofa, 2002
Page 68 and 69: Artists’ Biographies (s) = solo e
Page 70 and 71: Gregor Eldarb * 1971 Bielsko-Biala,
Page 72 and 73: Graham Little * 1972 Scotland, GB l
Page 74 and 75: Tsuyoshi Ozawa * 1965, Tokio, J liv
Page 76 and 77: Silke Schatz * 1967 Celle, D lives
Page 78 and 79: Yoshihiro Suda * 1969, Yamanashi, J
Page 80: imprint This catalog is published o

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