program artists catalogues edition press contact |   intro   preview   current   archive  deutsche Version
  [UNTIMELY PATTERNS. Patterns, Structures, Breaks]

SHOW
Kunstverein Medienturm
Josefigasse 1, 8020 Graz
09.05-30.07.2005

The exhibition UNTIMELY PATTERNS (“Patterns, Structures, Breaks”) presents Gregor Eldarb and Andrés Ramírez Gaviria, who show repetitive patterns and their breaks within self-designed complex systems.

A crucial characteristic of Gregor Eldarb’s oeuvre is his free ranging between the media: paintin merges with sculpture, installation and photography. The surrounding space becomes part of the image. In his pictorial sculptures and photo series, Eldarb develops complex structures from the vocabulary of geometric abstraction, which take on the formal language of modernism and extend the space in manifold ways.
Eldarb’s urban and architectural models are composed of multilayered spaces which are structured by coloured areas. The colour appears as surface of the material. Eldarb uses no mixed hues, but respects the original colours of scraps and cardboard pieces which he glues and tucks into one another. His compositions of squares thus merge to horizontal and vertical progressions, one form resulting into the next. The singular modules are not isolated, self-contained entities, but open systems dilating to potentially infinite structures. Although the works inherit clear borders, they simultaneously abolish these. The abstract system, disclosing in the details, faces an overflowing, mazy accumulation of forms and colours.
These numerous variants attest a work process wherein the idea is formulated and advanced in the process of making. Eldarb detects the singular forms online with their changeableness. Behind is an attitude which is open for the experiment and which employs improvisation as sculptural strategy. The process of creation is thus topicalized in the works. The models indwell a particular tension: they cite the architectural language of functionality and geometric precision, on the other hand they associate ad infi nitum uncontrolled building in residential areas made of shanties and the resulting exuberantly growing of the suburbs. Eldarb designs the image of a modern age, assembled of swift transitions, simultaneity of impressions and overstraining surplus supply, but also of rhythm, harmonious dimension and scheduled modulation, oscillating between these facings of reality.

Andrés Ramírez Gaviria (with Erich Fahringer and Werner Zotter) designs the sound-coupled light installation “Between Forms of Representation and Interpretation”. A pre-programmed order, based on the artist’s concept, controls each of the 480 LEDs as well as the synchronized audio system. The concept is translated as a series of abstract light patterns, thus remains impervious in written form. The project began as an inquiry into differences between perceptual and cognitive experiences of viewers attending art exhibitions. As is common practice, the exhibition visitor is provided with supplementary textual information, explaining the work of art on display. Regularly, however, the visitor’s perception of the latter is not corroborated by his or her understanding of the former. The gap between subjective and objective information remains unbreached. The installation integrates distinct systems of data representation with the intention of bringing together referential and self-referential approaches. By incorporating the textual analysis within the work of art’s formal properties, the artwork is explained and extended by referring to a self-referential and external rhetoric. The project refers to the impact of the contextdriven analysis in information systems. Through its interface, the installation makes perceptual and cognitive mechanisms relative when trying to understand data as it translates between different forms of representation. The methods employed to visualize and sonify data in the installation make decoding improbable. On the one hand, the text is visualized on a grid as an abstract display of light patterns. On the other hand, the light segments that compose the grid are installed on diverse height levels so as to have their complete alignment be perceived only from a distant aerial view. In this respect, not only are the semantics of the text encoded within the light sequence, but the syntax, namely the grid, is also cryptic. Through the visualization and sonification of data, the piece extends the paradox of uniting referential and self-referential imputations into a single communicational system. Through the structure of its interface, it alludes to the system’s communicational inefficiency. The installation is built on contradictions that arise from the decontextualization of data at a semantic and syntactic level. Drawing on specific strategies of the conceptual art movement of the 1960s and 1970s, it puts forth the differences between representation and interpretation within the dynamics of a code oriented environment.

Annette Südbeck, Andrés Ramírez Gaviria

Gregor Eldarb, Andrés Ramirez Gaviria

1 2


« »


 

Gregor Eldarb, quasi notation, 2005. Mixed media. View Kunstverein Medienturm, Graz, 2005.

1