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ExhibitionSpace Spanien 19C

by Annette Finnsdottir last modified Aug 13, 2011 11:03 AM
Interference Solo-exhibition with Michael Kargl 6. dec. – 16. dec. 2008 Curated by Annette Finnsdottir

In this solo-exhibition Michael Kargl presents two new installations All You Can See (2008) and TimeStamp (2008) and two earlier works the photo-series Serial Porn (2005) and Entropy (2004).


- all you can see (2008)

all you can see (2008)

With common video formats, almost 17 million different colours can theoretically be represented on the screen today. If these are shown all at once, a condensation in pure white is generated in the digital picture production. While carlos katastrofsky with the internet-based precursor to all you can see (2008) entitled opus magnum (2008) was still concerned about the subject of mass production as one of the last taboos in the art market, he plays in this video with the time-based representation of structures of the digital art production, that are inherent in the system, and the processes attendant to it. The visitor gets to see all that is possible: Countless different colours are lined up linearly with a rate of 25 pictures per second in single frames and result in an 8-days-long changing process from black to white und thus from colourlessness to absolute condensation. The artist establishes through the extension of the material, perceptible for the viewer as monochrome representation, references to the colour field painting of Abstract Expressionism. In his video production, the artist dispenses with the subject and employs colour purely for its own sake. He continues in the digital medium reflections and theories that have been known for a long time from art history about the end of painting. His method: restriction, reduction and concentration in the form of extension.



- serial porn (2005):
serial porn (2008)

On a first fleeting glance, the viewer could easily assume that the so called wallpapers of serial porn (2005) were developed by way of generative procedures of the picture production: floral patterns, geometrical figures and three-dimensional effects. On a closer look, you discover in the montages, however, extracts from pornographic pictures, derived from the sheer endless fund of the World Wide Web. They are arranged in a serial way so that their original figurativeness dissolves in favour of “decorative” patterns. The subject is sex and the reduction to the essentials. With this photographic work series, carlos katastrofsky not only alludes to one of the most significant economic branches of the Internet, but he also refers to working methods of artists in the Internet. The remix, the processing and the defamiliarization of existing materials as well as their employment as readymades is pursued up to the point where the original function of the pornographic images loses its stimulating effect. Through the détournement, that is its use for different purposes and its reinterpretation, the stimulus is cancelled in a new meaning, in order to re-constitute itself on a different level of perception.


- entropy (2004):


In the five-part work series entropy (2006), carlos katastrofsky utilizes pictures taken by surveillance cameras readily retrievable in the Internet and installed in New York, Mexico City, Moscow, London and Tokyo. The choice of the title applies both information-theoretical as well as physical parameters of thermodynamics and takes hold of the respective places exclusively through the principle of movement: nothing immovable exists, houses are only created through the shadow of passing clouds, streets through driving cars and a zebra crossing through the pedestrians who use it. In this way, five photographic works condensed to single pictures through computer-assisted procedures generate themselves – eventually leading to socio-political questions about collective transparency in the Internet, as well as to art-theoretical questions about process-oriented phenomena. The themes time and space are newly arranged in the context of globalized metropolises and result in contemplative pictures, whose density of information – both in the literal as well as in the metaphorical sense – has  the view of the visitor oscillate between catching familiar patterns and rediscovering coincidental structures.


- timestamp (2008)

Timestamp (2008)

Space, time and light are those factors that enable the viewers of timestamp (2008) to take a stroll into the immediate past. A camera above the place of the installation follows the constantly changing qualities of light at the sky. Passing clouds, the sunset or the blackness of night are rendered in the form of monochrome colour areas on five monitors altogether. While the first picture point still shows an extract from the present play of lights, the viewers reach during their path to the other screens, sometimes lasting only for fractions of seconds, impressions from the past. But it is not only a journey into the past of the varied light qualities, but also a trip into the past of your own perception, your own memory and contemplation. The installation timestamp is a further development of the purely Internet based work remote impressionist artwork (2006) and does not only play with the working techniques of Impressionism, but also with the concept of interaction in a digital surrounding: Even though the viewers cannot generate special effects or open up hypertextual worlds, interaction with the artwork consists in the act of conscious seeing.


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