post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ... post_modellismus – models in art - krinzinger projekte - Galerie ...
Laurie Simmons Woman Listening to the Radio, 1978 Black and white photography, 19 x 30 cm, ed. 120 Woman Listening to the Radio is part of In and Around the House, Laurie Simmons’ seminal series of black and white photographs, which she made between 1976-78. This early body of work put Simmons on the forefront of a new generation of artists, predominantly women, whose use the media as subject began a new dialogue in contemporary art. Set-up photography combined with the notion of child-play – through the manipulation of miniaturized dolls, objects and interiors – enabled Simmons to control perception while simultaneously referencing both general stereotypes and her own memories. - Carolina Nitsch 60
Barbara Sturm Galerie 1:12 (showing Albrecht Schäfer, Fragment of the Malewitsch Museum Biberach in scale 1:2, installation outline), Hardboard (MDF), balsa, 50 x 70 x 50 cm Lyotard once wrote that the art museum monumentalises the trace. Galerie 1:12 would appear to do the opposite, in that it reaffirms the interface between materiality and the imaginary as something not easily reconcilable. Hence its ambiguity in terms of functioning as a ‘model’ (i.e. not yet ‘realized’) and object. Rajchman asks the question, again, in relation to the virtual: ‘What would it mean for the virtual to be part of the very idea of construction? Let’s take Deleuze’s Leibnizian account of the baroque house, where the real and the ideal no longer belong to different worlds but inhabit the same uncentered perspectival ‘possible world’ …’ In many ways it is as though Galerie 1:12 has taken this as its remit. It does not aim to represent, symbolize, or place a singular coherent meaning about the role of the artist, gallery, exhibition space, etc., but rather provisionally defines and discusses these issues with each new collaboration and within each installed location. Through these means, and as a virtual, fictional gallery, it allows for potential and collaboration to take the place of either moribund monumentality, or the opposite emphasis on art as luxurious commercial product. - David Ryan, Galerie 1:12. 61
- 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 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 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
Barbara Sturm<br />
<strong>Galerie</strong> 1:12 (show<strong>in</strong>g Albrecht Schäfer, Fragment of the Malewitsch Museum<br />
Biberach <strong>in</strong> scale 1:2, <strong>in</strong>stallation outl<strong>in</strong>e), Hardboard (MDF), balsa, 50 x 70 x 50 cm<br />
Lyotard once wrote that the <strong>art</strong> museum monumentalises the trace. <strong>Galerie</strong> 1:12 would<br />
appear to do the opposite, <strong>in</strong> that it reaffirms the <strong>in</strong>terface between materiality and the<br />
imag<strong>in</strong>ary as someth<strong>in</strong>g not easily reconcilable. Hence its ambiguity <strong>in</strong> terms of function<strong>in</strong>g<br />
as a ‘model’ (i.e. not yet ‘realized’) and object. Rajchman asks the question,<br />
aga<strong>in</strong>, <strong>in</strong> relation to the virtual: ‘What would it mean for the virtual to be p<strong>art</strong> of the very<br />
idea of construction? Let’s take Deleuze’s Leibnizian account of the baroque house,<br />
where the real and the ideal no longer belong to different worlds but <strong>in</strong>habit the same<br />
uncentered perspectival ‘possible world’ …’ In many ways it is as though <strong>Galerie</strong> 1:12<br />
has taken this as its remit. It does not aim to represent, symbolize, or place a s<strong>in</strong>gular<br />
coherent mean<strong>in</strong>g about the role of the <strong>art</strong>ist, gallery, exhibition space, etc., but rather<br />
provisionally def<strong>in</strong>es and discusses these issues with each new collaboration and with<strong>in</strong><br />
each <strong>in</strong>stalled location. Through these means, and as a virtual, fictional gallery, it allows<br />
for potential and collaboration to take the place of either moribund monumentality, or the<br />
opposite emphasis on <strong>art</strong> as luxurious commercial product. - David Ryan, <strong>Galerie</strong> 1:12.<br />
61
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