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

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Gregor Eldarb Fragment - graugrün, 2005 Cardboard, lacquer, 58 x 44 x 44 cm »Principles of orderly modelling Economy, adequate content, comparability, adequate representation, and a systematic structure serve as quality standards.« 42
Miklos Gaál Construction Men, 2004 C-print, aluminum, series of 7 pieces, 67 x 76 cm each, ed. 5 The artist observes himself observing and has relinquished the goal of recognizing everything. If one pursues the meanings resulting from this constellation one would have to say: the jolts of our visual apparatus – or the world – prevent everything from being recognizable. More: it would be illusionary that the image of the world is focused and presented without any blurs. In this sense Miklos Gaál is a realist true to reality. That would be one conclusion. The other consequence is in the medial reflection. As we know, photography can be reduced to camera obscura. Yet there is more evidence to be found in its connection with drawing. And it has always been the strength of traditional drawing that it is sporadically precise, that it can invent the non-visible and blend out the visible – in case it seems right for the picture. And it is right for the picture, so it seems for this photographer, that you cannot see everything precisely. - Peter Herbstreuth, Miklos Gaál in the sphn Gallery, Berlin. Introduction (2003). 43
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 40 and 41: Michal Budny Map, 2005 Cardboard, p
Page 42 and 43: Thomas Demand Five Drafts (Simulato
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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