Uri Dotan (USA), Hans Kotter (D), Marko Zink (A)
Licht-Installation, Skizzen, analoge Fotografie
4. 11. - 12.11. 2011
Preview: Samstag, 29.10. 2011 von 18-21 Uhr
Vernissage: Donnerstag, 3.11.2011 ab 19 Uhr
WO: Next Door Galerie Michaela Stock, Schleifmühlgasse 18, 1040 Wien
Galerie Michaela Stock zeigt nach dem Ausstellungserfolg „stories for reflection...“den zweiten Zyklus
...reflection reflected. Auch in dieser Schau dreht sich alles um Konstruktionen der Wirklichkeit – sie versuchen gesellschaftliche Strukturen aufzuzeigen, sie zu durchleuchten und ihre Geschichten zu rekonstruieren und zu erzählen. Die drei Künstler zeigen folgende Arbeiten: Skizzenblätter aus der Serie „crossings“ von Uri Dotan, das Lichtobjekt “color code“ von Hans Kotter und die analoge Fotoserie „ohne“ von Marko Zink.
Uri Dotan Crossings
The people and their shadows play the notes of time on the lines of the crosswalk.
This is an exhibition from the series entitled, Crossings, which began in 2001 and will continue into the future, featuring content from international locations such as New York, Tel Aviv and Vienna. The concept of these geographical relocations was born in a show called Activation where I exhibited a live-feed video of an intersection in New York in the Museum of Israeli Art in Ramat Gan and on the Web for 3 months. Since that show the project has involved shooting video and photographs, focusing particular attention on crosswalks and other sites of urban transience, and then mirroring, looping and composing this material in order to generate new perspectives on these sites. This show includes 8 videos and 9 photographs, reflecting the themes of displacement, movement and time in the city of Tel Aviv.
The project's geographical relocations function as a type of mirror: one that doesn't reflect the other but is similar to the other. Duplication of urban spaces is echoing the way we dream to be free and the freedom is of time and death. Like the sculptural works of Robert Smithson, the geography of the source material's site versus the exhibition's site transports the viewer and allows for multiple points of entry into the work. In Crossing Tel Aviv the view is transported from the streets of Tel Aviv to the surface of digital space, the screen or window that contains the space of the video.
The distant perspective from which I film people evokes a sense of anonymity. They are actors in these video pieces, actors that don't realize that they are acting, and aren't burdened by the self-consciousness of acting. The traffic and the human motion are forming the Architecture of the change in the image. This is bringing the images to the surface, the tabula rasa.
As in Andy Warhol's Empire, the passage of time is primary in these works. Everything, including the city's motion, occurs in relationship to the sun, the rotation of the earth and our fixed point of view; the cycle of daylight fading to darkness fading to city-lights and its reverse is the key loop of these pieces. The metronome of composition is the sun's motion. This is the stage where words lose their meaning. Time is sculpting the videos into a post-narrative piece that is in a flux. This flux has a symmetry which evokes the international movement in Tel Aviv during the 1920's. artist statement Uri Dotan
“Crossing Vienna”: We see drawings, that can be made into sculptures or stay as drawings of crossings, in the spirit of the 20th 30th where all the crossing are nailed to people feet.
Hans Kotter color code
The series of works colour codes is evidence of this approach: colour codes are light objects, the vertical coloured structure of which illuminates ever fresh combinations of colours with endless variety. At first glance, these photographic collages, which are reminiscent of barcodes, create an effect using minimal aesthetics, unfolding a diverse play of colour on the basis of LED lighting technology. A large number of optical and aesthetic impulses are created by changes in coloration; the codes appear to be moving slowly due to the changing colour spectra. Even the surrounding wall space and the room itself cannot remain unaffected by this choreography of light and colour.
Marko Zink Serie ohne
The series of analogue photographs “Im Kurhotel” by Marko Zink was made between 2010 and 2011. At first sight the large-scale photographs present miscellaneous views of indoor and outdoor spaces of the health resort. While shooting the series, Marko Zink came across several smaller, meagre single rooms. Apparently they were destined for the personnel of the health resort’s guests. One of these imagined characters – a servant – is picked out by the artist and suddenly becomes inventory of the pictures. Again the focus of this series is the theme of “the disappearing” – the servant uses clothing as a means of camouflage and hides – behind a curtain, in the chair, etc. - and thus leads a life beyond the great freedom.
The topic of the disappearance within this series not only becomes a visual “play” with the eye of the recipient, but at the same time Zink challenges the spectator to a lot more: the recurring theme of camouflage, the effective reduction and people disappearing in the work (and thus their personalities disappearing too) are a reference to a personal, tragic loss in the artist’s life. Thus the series not only experiences a personal and all the more oppressive climax, but with regards to the content is also reflected and summarised in the examination of the place (the health resort) and the personal history (death).
artist statement to “im kurhotel”, Marko Zink, 2011