has been for sale for some time, as you have seen. The maintenance and ongoing development to keep our non-profit and idealistic platform for contemporary art running and safe from hackers etc. costs money that is no longer there. Because of small investments that are necessary now and the running costs, we will have to shut down with a heavy heart at the beginning of summer on June 21.
Installation mit 8000 Büchern und Computerkomponente auf 35 m2
Diplomausstellung in den Bildhauerateliers der Kunstakademie Wien.
Installation zur Entsprechung der eigenen Überforderung von der stetig wachsenden Menge an neuen Informationen durch den medial explodierenden Informationsfluss und der parallelen Unmöglichkeit einer derart fragmentierten Kommunikation dieser Daten in streng pragmatisch- linguistischer Hinsicht.
8000 im Raum aufgereihte Bücher bilden ein Basisfragment, ein begrenztes Archiv aus einem unendlichen Ganzen auf dem ich mich bewege und aus jenem ich selektiere um meinen persönlichen Blickwinkel, eine Achtelkugel aus zerschredderten Büchern unter der Decke mit Anmutung eines Schwalbennestes, auszumachen.
Unterstrichen wird dieses Setting von zwei Computerstimmen, welche aus Wickipedia und dem Guttenberg-Onlinebookarchiv durch Schrifterkennungs- bzw. Sprachprogramme miteinander kommunizieren
The works are made by creating wood forms and painting images on paper, then mounting the images and paper patterns onto the surface. The shapes form angles and curves that sometimes generate the meaning of the piece. On some works, the image is already in mind, and the wood form is made for its purpose.
The works are made by creating wood forms and painting images on paper, then mounting the images and paper patterns onto the surface. The shapes form angles and curves that sometimes generate the meaning of the piece. On some works, the image is already in mind, and the wood form is made for its purpose.
The works are made by creating wood forms and painting images on paper, then mounting the images and paper patterns onto the surface. The shapes form angles and curves that sometimes generate the meaning of the piece. On some works, the image is already in mind, and the wood form is made for its purpose.
The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.
Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)
