Interference at Mikrogalleriet
At Mikrogalleriet Michael Kargl exhibits two artworks: Landscapes (2007) and Objects of Desire (2005-2008). He also did the performance on translation (2008)
- landscapes (2007):
In order to guarantee the data transfer between two or more computers and to be able to identify the receivers explicitly, the network nodes of the Internet consist of so called IP-addresses. The seemingly accidental arrangement of this combination of numbers and the resulting – partly even extremely conflicting – virtual neighborhoods are examined by carlos katastrofsky in landscapes (2007). In the course of this further development of the two Internet based works neighbourhood research (2004) and area research (2004), IP-adresses were brought to paper by means of printing transfer, in order to provide the viewers with an extract of the virtual in real space. The artist works on the net as cartographic concept and copies the context, in which websites like Google, CNN or Wikipedia are anchored. Translated into the gallery space, the viewer eventually finds him- or herself vis-à-vis works on paper whose aesthetics remind of conceptual, text-based strategies of design. In this way, the context of the shown IP-addresses is also reflected formally: in a landscape open downwards and upwards, consisting of numbers, letters and signs.
- objects of desire (2005-2008):
In short intervals, a text sequence appears on the screen of a transparent object with the promising title objects of desire (2005-2008): white standard typography on black background, sentence by sentence, second by second, with each new beginning a new number and thus, a new piece of art, that is concluded by the words you own me now until you forget about me. With objects of desire, carlos katastrofsky looks for the determining parameters for digital art, for their role in the art business and – even more general – for the authorship of artistic works: Is it necessary to touch it and own it at first, in order to define art as such, or is a consecutive number sufficient in order to speak of an original: 1101, 1102, 1103? objects of desire is the further development of the originally purely Internet based work the original (2005) for the exhibition space. The self-constructed computer – thus, the transparent object (of desire) – contributes on a formal level its share to the transfer of text-based and ephemeral characteristics of net-art into real space.