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Phenomena of Interference

by Annette Finnsdottir last modified Aug 12, 2011 06:38 PM
by Franz Thalmair
they are process and state of an ‘overlapping’ at the same time

Interferences are sources of mistakes, if imagined within the microcosm of the mutual influence of language. However, the focal point of the exhibition series interference by the media artist carlos katastrofsky, who lives in Vienna, is not the disturbance, but that space of transition, where these interferences appear and which they constitute themselves at the same time. But ‘interferences’ not only describe defects, they also designate a global phenomenon: these are the natural processes of transformation, which language systems are subjected to in the course of time. Thus, they realize themselves in the nowhere “in between“, they are process and state of an ‘overlapping’ at the same time, a grey area and a blackbox, continually opened and closed by the artist.

The artist is not at all interested in separating the media tools from this perception in the Internet based artworks, that have been produced between 2005 and 2008, and the accompanying adaptations for the exhibition space. Basics like software, interface designs and code are worked on just as much as the social mechanisms that their employment goes hand in hand with. carlos katastrofsky takes the viewers by way of new technologies into an area, in which content and medium are mutually dependent and a feedback of expression and form is possible. Without explaining his personal reason, he allows the viewers to participate in those issues that are his driving force as an artist. These are personal perceptions translated into reduced picture worlds and objects, which challenge the viewer to confront him- or herself both with the single works and the underlying economic and political mechanisms of a globalized world.

carlos katastrofsky does not utilize code and the principles of its calculability for the glorification of media structures, but for a visualization of processes that are not immediately intelligible for media consumers. His awareness of the material results from his past career as classical sculptor, while the purist aesthetics of his works are based on his conceptual background. He performs his institutional criticism of the ghettos of the media art business, of the artistic production- and distribution processes in and with the new media as well as of the role of contemporary media consumers in this circle, by abstaining from effective performances. With the tools of Minimalism, he creates a new language of form and content that takes its structure from continuous appearances of overlapping and becomes itself a process of transformation, thus an interference.

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