ROCKELMANN &, Berlin
Sebastian Biskup: "In an everyday world in which no one and nothing is released into public circulation un-designed or un-aestheticized, questions of original and independent visual language seem increasingly nostalgic. Neither embracing nor condemning this condition, my work re-positions the visual raw materials that surround into redirecting the viewer’ s gaze toward underlying structures of the media landscape. Early on, I dedicated myself to the graphic analysis of printed media. By reducing these media to their formal bases (removing all connotative information from my sources) I was able to visualize the central idea of a given layout – of, for example, a tabloid or printed advertisement. In so doing, I also displaced my sources from their original contexts into the framework of contemporary art. This is how the 2003 work “Bild” developed – a series of prints examining one week of the newspaper with same name. The analysis of a layout not only makes the formal principles of a given source visible, it offers viewers the possibility to reflect on the basis of a source’ s recognition value, on the visual relationship between consumer and product. In the meantime, I no longer limit the usage of my computer-assisted analytic methods to print media. In my recent animated films, I refer to the graphic language and time structures of television advertising. Installed on multiple parallel monitors, these looped serial animations evoke the retail presentation of commodities. Recently I have been working on a series of analytical paintings. Using a different formal algorithm but working with the same source material (historical portraiture), I have developed a process that helps me let the paintings paint themselves. At VOLTA, I will be showing my latest tondi, based on different elements of singular sources - utilizing data gathered, and putting it into a new visual context."
Conceptually, Kai Franz’ s work questions notions of authorship and subjectivity. In the making of his work, the artist sets up systems and builds machines that translate digital drawings and information into the cumbersome realm of matter and materiality. Dual Axis Precision Deposition System (Plopper) is a machine that Franz built from a reworked Plotter. It could be seen as something like the bad conscience of formal idealism: as a 3D printer it translates the smart, trim and generally wonderful numbers, points, lines, and algorithms into the thick, viscous, and opaque realm of the nexus, of matter and reality. With the works that the machine produces, Franz directly critiques contemporary fabrication technologies, such as 3D printing, for their overly simplified relationships of the digital to physical, of the ‘ diagram’ to actuality, and of the ‘ virtual/represented’ subject to the ‘ real’ one. Art historically, the works continue a painterly discourse towards anti-composition: the origins of these works are digital information based CAD drawings, which the machine translates into physical sculptures made from sand and polyurethane. In doing so, one sees how the material properties take over and determine the final form, to create what the artist calls an informed formlessness.
Evolution Of Object
A central aspect of Yasmin Alt ́s work is the examination of cultural residues and space. Her mostly sculptural work result in playful yet minimal objects that draw inspiration from architecture, interior design and ritual objects. Citing with a multicultural approach Alt assembles her heterogenic objects into three-dimensional collages that lay out a pattern of human civilization beyond time and a given cultural realm. General architectural principles and construction techniques are repurposed and question sense and use in her work. Concrete, wood, as well as epoxy resin and different varnishes and spray paint accent the colorful fragments and geometrical forms that can be read as an alternative cultural report. Meanwhile their appearance and size suggests an imaginary performance quality whiteout any given manual to the viewer.